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We all had an awkward phase when we were growing up, and Photoshop is no exception. And thanks to this visual history, you can now track the design history of the popular Adobe software from 1990 all the way through to its current form.
This is thanks to the Version Museum, an online resource which showcases the visual history of popular websites, games, apps and operating systems. While you might not find perfect examples website layout here, you will find an amusing glimpse into the history of your favourite platforms.
"Much like walking through a real-life museum, Version Museum aims to illustrate the visual, tangible elements of various versions of technology, rather than just the written history behind it," the site explains on its about page.
And what better place to show how far design has come than Photoshop? After all, it's the platform we'd use to airbrush out all the dodgy haircuts and poor fashion choices from our own, unfashionable histories.
For readers of a certain age, the Design History of Photoshop will make you feel warmly nostalgic. For our younger audience, it'll make you look on in amused fascination that these pixelated controls were once considered cutting edge.
Check out some of its iterations in the gallery below, the head on over to the Design History of Photoshop to see the full archive.
The screen shots in the Version Museum have been compiled from a variety of sources, including fandom.com, winworldpc.com and guidebookgallery.org.
It's interesting to see how some elements of Photoshop have changed radically, such as its logo design which morphed from an eye, to a feather, to the 'Ps' lettering we all know today. Meanwhile other parts, such as the Color Picker controls, have just been given a spit polish over the years.
If this has whetted your appetite for more retro web designs, check out the responses to the 10 year challenge, which saw the world's biggest websites reveal what they looked like back in 2009.
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From the cover to the last page, Computer Arts magazine in championing new talent this issue – showcasing the winning entry of its cover competition, by Hazel Mason, with accompanying spot UV and pink Pantone to give the illustration and extra punch.
Inside, the team reveal their top picks of creative UK graduates that you should keep an eye on in 2019. They've scoured the UK for the very best, most original graphic designers and illustrators, and the results speak for themselves – the future of the creative industries is looking pretty healthy!
> Buy Computer Arts issue 295 now
Elsewhere in the issue, explore five amazing examples of collaboration, from creating a book of poetry to producing an award-winning line of confectionary products. The mag also lifts the lid on the process behind two major new projects – the new redesign of Foilco. by Studio DBD and the new identity of The Syrup Company.
> Save up to 71% on a Computer Arts subscription
Catch up with the irreverent Spanish creative duo Twee Muizen, and look at their genre-mashing work that spans massive murals to friendly taxidermy. SODA Studio open up their headquarters to show you how they blend architecture and design, and as ever there's loads of insight from the industry leaders inside. Get your copy now!
Computer Arts is the world's best-selling design magazine, bursting at the seams with insight, inspiration, interviews and all the best new design projects. For all this delivered direct to your door each month, subscribe to Computer Arts. Right now you can save up to 59 per cent on a print subscription. Digital editions are also available.
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Did you pick up a bargain this Amazon Prime Day? If so, you probably didn't find a better deal than these lucky photographers who saved tens of thousands of dollars on camera gear due to a pricing error.
We tried our hardest to bring you the best Prime Day deals this year (and you'll still find the cheapest prices on our roundup of the best cameras), but even we couldn't compete with this Amazon blunder that saw the reduced price on a range of different products appearing as $94.50, rather than the intended discount price.
For snappers looking to take their photography skills to the next level, this was a once in a blue moon opportunity to grab expensive equipment for next to nothing.
The pricing error was first noticed on a Sony Alpha a6000 and 16-50mm lens bundle, which had been accidentally reduced to $94.50 instead of $550. This miraculous deal was soon shared on Slickdeals, where it unsurprisingly hit the front page.
Not everyone was able to see the hugely reduced price, but those that could were able to add a mega bargain to their baskets. It's important to add that this wasn't an error being pulled through by third-party sites, these orders were being processed and shipped by Amazon itself.
Slickdeals member 'Steeve' confirmed that his order had been shipped
The discount price of $94.50 was soon being spotted on other products and bundles. One lucky shopper was able to pick up a Canon EF 800mm f/5.6L IS, which usually retails for $13,000, for less than $100. Now that's what we call a discount. They even registered their disbelief with the comment: "LOL waiting for the cancellation but that's like 99.3% off."
And while it's reasonable to expect that Amazon would cancel orders that are obviously too heavily discounted due to an error, Slickdeals member 'Steeve' shared confirmation that the photography gear had been handed over to UPS and would indeed be shipped at the unbelievably cheap price (see above).
The forum thread over on Slickdeals is filled with hundreds of comments where photographers celebrate that they managed to nab a discount camera. Meanwhile others commiserate that they missed out.
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A trailer has finally dropped for movie adaptation of Cats, and... honestly, we're not quite sure what to say. When the venture was announced, we were sceptical, but happy to suspend judgement – after all, progressions in VFX and mo-cap have unlocked exciting new doors in movies. In a world where a plastic spork can become a legitimate main character (Toy Story 4) and singing warthogs seem perfectly believable (The Lion King), surely rendering a plausible take on this feline fiesta shouldn't pose too much of a problem?
Well it seems not. Judging by what we've seen so far, Tom Hooper's reimagining of the phenomenally popular Andrew Lloyd Webber musical is all kinds of wrong. One thing's for sure, this 'demented dream ballet' isn't likely to enter our ranking of the best 3D movies any time soon.
Take a look at the full trailer below, then read on for what we think are the four most bonkers CGI decisions.
01. The cats look like humans covered in fur
What am I looking at?
First up, let's decide what you're going for here. Realistic creatures conveying human emotions? That works – just look at the Lion King remake. Humans that give the impression of cats through stylised costumes and body movements? Another strong approach – go ahead.
But no. The film-makers here have opted for something between the two: super-realistic CGI cat fur (achieved using 'digital fur technology' nonetheless) paired with entirely human faces and human proportions, but (understandably) no accurate anatomical details.
Whoever decided this eerie hybrid of human and feline could be anything other than a one-way ticket to uncanny valley was sorely mistaken. We'll see you in our nightmares, Mr Mistoffelees.
02. No one can decide what size the cats are
By all means bend the rules of nature and ask the audience to suspend their disbelief, but if you're going to do that you at least need to be consistent. In the Cats stage show, the cats are human sized. Here, the technology is there to shrink them down to the scale of a natural cat. However, across the course of this two-and-a-half minute trailer the feline characters are variously the size of a piece of cutlery, roughly real-cat-sized, and entirely human-sized. It's all a bit distracting.
03. Only some cats wear clothes
Cover up, won't you?
How clothes work in this nightmarish alternate world is incredibly hard to fathom. Many of the cats, as you would expect of a cat, are naked but for the aforementioned realistic fur. However, others wear clothes, ranging from jackets to top hats. Judi Dench's gender-swapped Old Deuteronomy, already a fairly fluffy breed, sports a fur coat in the same colour as her fur. Where does this fur come from? Another cat? Let's not dwell on the logistics there too much.
04. Lady cats have cleavage
Taylor Swift as you've never seen her before
The last of our gripes is perhaps the most upsetting of all: there are a number of shots that suggest these kitties – the females in particular – are meant to be sexy. While the addition of animal ears or tails might float some people's boats, even Hefner would surely have been thrown by a furry Taylor Swift wearing heels. And absolutely no one wants to see a cat with cleavage.
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Every CG artist knows the pain of trying to keep track of design changes that are buried deep within email chains with a subject line like "Client Meeting 12 Dec". Large VFX and CGI studios have appreciated that this is a problem for a while and have switched to using tools such as ftrack as a result, which keeps a record of project management and asset development, as well as handling all internal and external review systems.
While undoubtedly powerful, ftrack’s previous range of options could be a daunting proposition for smaller studios or standalone freelancers who want to keep track of their 3D art only, without all of the other project management tools (and expense) that software like ftrack offers. To meet this demand, ftrack has now released a 'lite' version – ftrack Review.
It is a standalone online review system that gives artists the ability to create online repositories of work, such as shots and stills, and share these with other artists working on the project. This software also enables clients to collaborate and approve or reject shots through an easy-to-use player and online notation system.
It has two distinct areas. The 'library' enables users to collate assets into projects, and then when the ftrack review system has encoded them to play back easily online, the assets can be added to a 'review'. A review enables users to comment and notate using shapes, comments and online doodles directly onto the player, as well as supply multi-page PDFs when required.
Artists and collaborators can draw and doodle directly onto the player, speeding up the review process
These changes are tied to the timeline, enabling the user to start inline conversations around the comments, and due to the clean ftrack Review interface and the helpful methodology of adding distinct colours to users as they are added, it is easy to see who has added what comment and when.
This ease of use is extended to those who need to approve shots. Called 'collaborators', their interface is subtly different and only enables access to the elements that need to be approved, which can be easily done via the large 'Reject' or 'Approve' icons in the middle of the player.
There are a number of online tools similar to ftrack Review currently appearing on the market, but ftrack Review stands its ground, which is impressive for an initial release. It is helped by its easy-to-use and stable interface, as well as the fact the 'less is more' paradigm, prevalent throughout ftrack Review, is underpinned by the fact the full version of ftrack Studio (which will bundle ftrack Review) is there if and when a project scales up.
Even if ftrack Studio is not needed, the team at ftrack have ensured that ftrack Review feels like an application that will easily collate and clarify feedback on a CG artist’s work, and will banish the pain of change control to the past. It is certainly worth a look for projects of any size.
(Please note: this review was performed on a beta version of ftrack Review – features and UI elements in the final release may be slightly different to those reviewed.)
This article was originally published in issue 131 of 3D Artist. Buy issue 131 or subscribe to 3D Artist.
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Got an amazing idea for an app? Turn your idea into reality with Mobile Design Master Class: Learn UI/UX & Start Your Freelancing Career. You can get it for just $12.99.
An idea for an app is a great place to start, but you have to also know how to create a great-looking app that's also easy to use. And this means that you have to develop skills revolving around UI/UX design.
This course features quizzes, assignments, and lots of helpful lessons that teach you how to build beautiful apps from scratch which your users will love. The course mainly focuses on iOS 8 Mobile App Design, but the skills you pick up here can easily be applied to all iOS, Android, and Windows platforms.
Mobile Design Master Class: Learn UI/UX & Start Your Freelancing Career is yours for only $12.99 -- that's 93% off the regular price!
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Generate CSS is a bespoke conference for web designers brought to you by Creative Bloq, net and Web Designer. This year's event will take place on 26 September in Shoreditch, London, on 26 September. We’re excited to bring you two more exceptional talents that will inspire and make your CSS world brighter and better: new speakers creative director Bianca Berning and frontend developer Cassie Evans are joining the Generate party.
Make sure you don’t miss out – get yourself an Early Bird ticket today and save £50.
Bianca Berning
During her talk Bianca will look to answer the following questions: How can typography respond to constant, unpredictable change of perspective in media, such as AR, VR, and mixed realities, where the physical boundaries of the page and screen are completely removed? Will these new technologies, and combination of technologies change the way we consume written content? And, How can we improve our user’s experiences using variable font technology on screens?
Bianca is a designer and engineer based at the intersection of typography, type design and technology. She is the creative director at font foundry Dalton Maag who boast an impressive portfolio of finely-crafted typefaces. To keep herself inspired and informed she is also and active member of Alphabettes, Association Typographique Internationale (ATypI) and the Unicode Consortium.
With an expert insight into type Bianca will be using her expansive knowledge to deliver a talk on variable fonts. The obvious benefits they bring over static fonts, how the technology can create new opportunities for the written word within traditional media as well as new, immersive experiences, such as AR, VR, and mixed reality.
Cassie Evans
A frontend developer with a love for animation, especially animation on the web. Cassie can usually be found tinkering on CodePen and nerding out about colour palettes.
She is a core organiser of codebar Brighton, a non-profit initiative that runs free programming workshops and currently works as a front-end developer at long-established and loved agency Clearleft in Brighton.
In her talk ‘Limitation breeds creativity’ she delves into how in web development, the sheer volume of things to learn can be overwhelming. Pair this with anxiety and a tendency to procrastinate and you’ve got the perfect recipe for doing absolutely nothing.
Constraints might not feel like what you want when you’re trying to kickstart creativity or start a new project. But working within constraints can help you get started and provide unconventional ways around a problem.
Come along to see me demo a few of my favourite unconventional CSS solutions.
Generate CSS, the conference for web designers, takes place at Rich Mix in Shoreditch, London on 26 September 2019. SAVE £50 with an Early Bird Pass! Only £199+VAT when you book before 5pm on 15 August 2019.
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Google is announcing much higher bug bounty payouts for Chrome, Chrome OS and Google Play.
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"It's time for our global visual language to get a little bit tougher, with a brand new pickup emoji," says the pitch for a pickup truck emoji design that's pending approval by the Unicode Consortium. However the document failed to mention that car manufacturer Ford has been involved with its development.
Why is this a problem? Well, when you consider that the proposed design bears more than a passing resemblance to the Ford Ranger, and that it would appear on the keyboards of smartphones the world over, it's looking an awful lot like a sneaky piece of backdoor advertising. At least Ford didn't go so far as to deck the emoji out with its logo design.
The pickup truck emoji was announced by Ford in timely fashion on 17 July, also known as Emoji Day (yes, that's a thing now). In the pitch document you can also see that the emoji displays the distinctive Ford Blue colour.
It's interesting to note though that Ford didn't mention its connection to the project when the pitch was provisionally approved by the gatekeepers of emoji design, the Unicode Consortium, back in May. Instead, the author of the pitch is listed as Nathan Maggio, a former creative director at the digital strategist Blue State.
Speaking to The Atlantic, a vice chair of the Unicode emoji subcommittee, Jennifer 8. Lee, said that Ford's sponsorship "probably should have been disclosed". When Ford did eventually announce its connection to the emoji, it went all out with a flashy video narrated by Bryan Cranston.
But just because the pickup truck emoji is being run by the Unicode Consortium, it doesn't mean that it's definitely going to see the light of day in its current form. The Ford Blue colour could be changed, the shape of the truck could be tweaked, or it could be turned down altogether.
The pitch does try its hardest to push things through though. It even cites the tweets of Dwayne 'The Rock Johnson, who has been hustling for the development of a pickup truck emoji for years.
Ford isn't the only company to try and 'hack' a system for its own commercial gain. Only recently North Face found itself in hot water after it tried to rank first in Google image searches via an unethical manipulation of Wikipedia. Needless to say, the stunt didn't go down well.
If the pickup truck emoji does get approved in its current form, we can't help but worry if it will set a precedent for brands to infiltrate our smartphone keyboards, and in turn our emotional reactions.
Pepsi already had a go at hijacking emojis with its 'Say It With Pepsi' campaign, so where will it end? Burger emojis sponsored by McDonald's? Apple emojis endorsed by, well, Apple? Only time will tell. In the meantime, we've got to wait until early next year to see if the Unicode Consortium approves, denies, or changes the pickup truck emoji.
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In our rapidly changing world, boundaries between different operating systems are often subtle, which is good news for web masters who consider using Linux on their development workstations. Content creators that come from Windows and macOS often expect to continue using their professional-level software like Adobe Dreamweaver in Linux but find that it is not available there.
Although it is possible to run many Windows applications (including Dreamweaver) in Linux via Wine, the experience and desktop integration will not be the same. The state of software availability in Linux is constantly improving, with many commercial products being released nowadays for all major platforms – Windows, macOS and Linux – but potential switchers should be willing to compromise and sometimes change their habits.
We’ve selected the most useful specialised Linux applications that will make the transition more comfortable. Just like the tools and resources in our web design tools roundup, some of them are free and open source, others cost money, but there is no obvious dependency between the quality and the price. Let’s look closer at what’s available.
01. Seamonkey
Seamonkey Composer is a WYSIWYG editor with three modes: document, markup and source-code editors
Seamonkey Composer is one of the easiest to use website builders and has a great compatibility with Mozilla products. The application is a WYSIWYG editor with three modes: document editor, markup explorer and source-code editor. In the simplest case, a user can just arrange text, images, tables and other objects without writing a single line of code, similar to what a text processor like MS Word provides. Seamonkey Composer will automatically create an appropriate HTML markup, which will be enough for static web sites.
Obviously, most modern web projects use a lot of JavaScript and other remote scripts but that does not make Composer useless. You can still prepare a basic design with it and master the rest of your projects with other tools. By default, Composer stores all rich-text formatting and styles right inside the plain HTML code but it is possible to tell Composer to use CSS styles and later outsource it to a separate file.
There is also the nice Preview tab, which renders a browser-like preview of your project live, as if it was loaded in a web browser. The browser part is the Gecko-based Seamonkey Navigator, which does not differ much from Mozilla Firefox in terms of displaying web content. One of the most handy tools in Composer is the Publish button on its toolbar. This enables quick and seamless upload of your code right into the site’s directory via FTP.
02. Quanta
Quanta may not be as popular as it once was, but is a good choice for those who code by hand
Quanta is perhaps a less known piece of web development software nowadays, but it was a number one choice not so long ago. The famous Quanta Plus application was an integrated IDE specifically tailored for web designers and developers but later on it was absorbed by KDevelop, an even more powerful cross-platform IDE. However, the original Quanta Plus project lives on under the patronage of Trinity Desktop Environment (TDE), a community effort for maintaining KDE3. Anyhow, it is still possible to install Quanta in a modern Linux distribution and benefit from its rich set of features.
Though a bit old-fashioned, Quanta has proven to be a viable choice for the present-day web project. The editor sports a tabbed interface and allows for working with text styles, tables, lists, forms and scripts. It is still assumed that a Quanta user is expected to code by hand but there are many tools to support you with this in Quanta. The Tags menu offers a sorted catalogue of frequently used tags and is ideal for quick tag look-up. Most of the other tools are also easy to find.
Thanks to the traditional interface layout of Quanta Plus, there are dozens of advanced features here and there, yet it is unlikely that a user will get lost. Every feature sits in the right place and therefore exploring the possibilities of the Quanta editor is never troublesome.
03. Bluegriffon
BlueGriffon can be an HTML editor for complex web sites
BlueGriffon is a web editor built around the Mozilla Firefox rendering engine but this is perhaps the only thing it has in common with Seamonkey. BlueGriffon is certainly a more advanced tool in all regards and it can serve as an HTML editor for complex web sites. The interface has a sane layout and feels close to an average word processor, except maybe for the default dark theme BlueGriffon uses.
The application is offered in three variants: the freeware version has essential WYSIWIG editor features; the Basic version (75 euros) adds a lot of tasteful features including dedicated editors for CSS styles and MathML formulas, code snippets, a mobile version preview tool, project manager and a bunch of handful pro-level tools.
The priciest EPUB license (195 euros) is targeted more at EPUB designers and delivers support for exporting projects to EPUB 2/3. However, the free version of BlueGriffon is already a full-fledged application worth trying for producing high-quality web content.
The Preferences section in BlueGriffon is very similar to the one in Firefox and besides the numerous things you can customise to your liking, it is also possible to extend BlueGriffon with extra plug-ins. For instance, a good start is to add missing spell-check dictionaries and perhaps things like FireFTP for quick code uploading.
Overall, you can’t go wrong with having a powerful web editor that fully conforms to the latest W3C standards, including HTML5, CSS 2.1 and large parts of CSS 3, CSS Media Queries, MathML, SVG etc.
04. Sublime Text
The ability to use plugins elevates the Sublime Text software
Sublime Text offers yet another approach to working with web sites. The application is basically a super-charged text editor based on the Electron framework, so that it has a browser engine in its heart. The interface is minimalist and code-focused; it consists just of a text-editing area, whereas all advanced features are hidden inside the menu-bar items. However, it is easy to adjust the Sublime Text UI layout to a more demanding taste.
The View menu lets you multiplex the editor’s panel either by columns or rows and also add the left-most panel with the list of opened files. It turns out Sublime Text is a wise tool to use to boost your productivity as it allows for working with several files at once, even without the need to switch between tabs. Sublime Text supports plugins and that’s the point where we can make this general-purpose text editor more web focused.
Start by installing Package Control, a plugin manager for Sublime Text. Then you’ll be able to get various extra goodness, like Emmet for code snippets in JavaScript, HTML and CSS, the Git integration plug-in, colour picker, code minifier and many others. Plug-ins really add a lot to the editor’s functionality. For instance, the SideBarEnhancements plugin enables file renaming, moving and duplicating, which is not possible otherwise.
Pay a visit to the Package Control site, which hosts hundreds of plugins of all sorts, many of which can transform Sublime Text into a stunning Swiss Army knife for web development.
05. Visual Studio Code
VS Code is another tool that works with plugins and boasts a very intuitive UI
Traditionally, VS Code draws comparisons with Sublime Text, as both code editors boast modern design, a dark theme and a respectful set of extra plugins. Again, it is plugins that can turn a general-purpose development tool into web-focused software. In the case of VS Code, the must-have list includes Font Awesome codes, CSS Peek, CSS Tree Validator, Live Sass Compiler as well as a code minifier plugin.
The strongest thing about VS Code is that it has all the most frequently used tools at close reach: the side bar hides a project explorer, a search and replace tool, a source control panel, a debugger and a built-in extensions manager. There are also over 10,000 available extensions for virtually any purpose and taste, all can be installed with a couple of mouse clicks. The goal remains the same: extensions help make VS Code users more productive in writing and editing source code.
The editing features in VS Code are superb; for example, indentation, snippet execution and bracket matching simply work and don’t get in your way. It may be a little laggy when chewing extra-large files (those weighing in at 5MB and more) but this is hopefully not the case for most web projects. With the support of screen split, tabs, bread crumbs and a bunch of useful View parameters, VS Code is easy to pick up and get using straightaway. Although hopefully Linux users don’t mind that VS Code looks and feels like a Microsoft product.
06. Pinegrow
Similar to a vector editor, Pinegrow supplies templates for you to enhance
Pinegrow is a powerful web studio with developed means for styling and visual editing. While many other web editors may resemble word-processing apps, Pinegrow could be better compared with a vector editor. The interface is somewhat unique compared to its contemporaries, yet it is quite comfortable to use.
Although you can start a new Pinegrow project with an empty index.html and write everything by hand, the application encourages you to use page templates, which are of very high quality. It takes far less effort to populate the template-based project with your own text and images than to do the same from scratch. Pinegrow is also the only application in our guide that hides the source code of a web project by default – press Ctrl+E to bring it up. On the other hand, using your mouse to select logical blocks on the page and then adjust them proved to be faster and more effective than writing code. On top of that, Pinegrow adds a marvellous CSS visual editor, a handy sidebar with widgets that you can drag and drop on the canvas (buttons, tables, text fields etc) and some (paid) extra plug-ins.
For all these plentiful features, Pinegrow offers developers purchasing options that vary from $36 to $111. The basic license should be enough for one-page web sites, whereas the costly pro license includes a collection of WordPress themes. Anyhow, there is a 30-day trial period, which is enough for taking Pinegrow for a spin.
07. Pingendo
Pingendo’s templates enable you to quickly get up and running
In many regards, Pingendo is like Pinegrow, only a bit simpler and running on a paid monthly or annual subscription basis (like $9 per month). The application is ideal for producing landing, portfolio, food menu or personal web pages thanks to the 17 nicely styled templates. Of course, this limits creativity in some ways but in return you get quick recipes for getting things done. Pingendo offers a rich set of things to drag and drop to your web page, including all sorts of navigation items, spinners, switchers, badges, cards, Google Map parts and more.
The Pingendo interface may feel more basic than Pinegrow’s but it is also clearer and easier to get used to. The top bar has preview options and lets you instantly see how the web page will look on a smartphone, tablet or notebook screen. The retractable left side panel is a good example of hiding a huge number of elements inside a compact toolbar. While most panels and sections are docked to the sides, some elements float like separate sub-windows.
For example, you can arrange the Projects tree and HTML/SASS windows how you like or close them if they get in your way. The only possible letdown of Pingendo is that it is solely a Bootstrap builder and not a universal webpage editor. At the same time it is one of the best solutions for building Bootstrap-based sites, using a superb interface with a lot of fit and finish.
08. Aptana Studio
Aptana is free and offers a lot for web developers and administrators
Aptana will give you a little rest from paid software, as the big blue Download button from the official site leads directly to the project’s GitHub page (head over to Releases to get the software quickly). Aptana is Java-based software that looks more like a developer’s IDE. The software has, however, a strong focus on web-related things and may be interesting for web developers and administrators.
You start with an empty screen and probably first go to the New project wizard. Notice some handful presets that include Ruby, Rails and PHP templates. Using the Project Explorer panel on the left side of the screen, it is possible to navigate inside the directory structure and create files.
The main area of the Aptana Studio window is devoted to a text editor with line numbering, code highlighting, tabs and other essential features. Similar to other high-quality IDEs, Aptana has a code assistant that provides tips for HTML5 and CSS tags, as well as for Java and PHP/Ruby objects. There are also a code debugger and advanced deployment tools included and, in our view, this alone makes Aptana a more preferable web development tool than a browser-based editor. For instance, Aptana works just fine with modern secured SFTP and FTPS connections right out of the box, which is apparently a problem point for many simpler applications.
Also, don’t miss the Terminal tab below the main editing area in Aptana. Terminal is an efficient way of deploying web applications (eg with $ mvn clean deploy), as well as quick access to code pulling, syncing and merging (eg via Git).
This article was originally published in issue 319 of net, the world's best-selling magazine for web designers and developers. Subscribe to net.
Join us at Rich Mix, Shoreditch on 26 September for Generate CSS, a bespoke conference for web designers brought to you by Creative Bloq, net and Web Designer. Book your Early Bird ticket before 15 August at www.generateconf.com.
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Life as a designer doesn't always work out as you might have hoped. You might have your heart set on working within a particular area of design, but the realities of paying the bills often means that you spend most of your time on less thrilling corporate work. It all helps to hone your skills, but if you're not feeling the love for the day job then a good self-initiated side project can be a massive boon.
A side project can provide an outlet for your own creative dreams and give you the chance to explore more experimental design, but it can also provide opportunities down the line. A good side project demonstrates your skills and your passion to potential clients and employers, and can add to your design portfolio.
Side projects can lead to you getting the sort of work that you want to do, rather than the jobs you have to take to keep the money coming in, and in some cases a side project can grow into your main source of income. You may already have your own side project on the go; if you don't, these are sure to inspire you.
01. Tivit
Like most of us, the team at Si Digital love a game of table tennis, but they're not so enamoured with the whole business of keeping track of scores and maintaining leaderboards. So they built an app to do that, leaving them free to concentrate on perfecting their spinning backhand shots. Tivit works as a virtual umpire, arranging matches, logging scores and feeding results through into leaderboards, and the team have made it available for anyone; since opening it up to the public, Tivit has logged nearly 14,000 games worldwide.
02. Rooki.design
Rooki.design is all about inspiring and informing young designers
Eduardo Rainoldi is an award-winning digital product designer from Italy, and in his spare time he's launched Rooki.design, an online magazine for young creatives. It features interviews with established designers, sharing their tips and tricks for getting ahead in the creative industries, and regularly showcases the work of up-and-coming designers. Most recently it's launched its own design awards, with the help of Awwwards and the FWA.
03. This is Non-Binary
Learn what non-binary's all about with August Tang
'Non-binary' is one of those terms that you've probably heard but might not quite get what it means. Thankfully August Tang, a non-binary multidisciplinary creative from Phoenix, Arizona, is here to help with an informative and sometimes personal side project. This is Non-Binary explains what being non-binary actually means and what it's like to be non-binary, as well as explaining all those pronouns and their importance, plus how to be supportive to a non-binary person. The navigation's a little eccentric, but August says that they're planning to add page transition animations to make it more intuitive.
04. TypoStories
If you love typography and the potential of interesting font pairings, this side project by Davide Baratta, design lead at Impero, is sure to delight you. TypoStories is an ongoing study of typefaces and font pairings, featuring an assortment of typographic illustrations inspired by Davide's need to explore typographic solutions and stay up to date with the latest releases from his favourite independent foundries. Vol. 1 is available now; he's currently working in Vol. 2.
05. Liam Neeson: Once More Into the Fray
Oliver Gareis' massive Liam Neeson illustration took six months to complete
Oliver Gareis is lead designer at Appico in Hamburg, and he's worked with top brands such as Volkswagen, Audi and EA Games over his design career. He's also a big fan of Liam Neeson, which has inspired him to create this massive, detailed illustration combining his favourite Neeson characters into a single digital artwork. Once More Into the Fray was created entirely in Illustrator CC, and between tracking down source imagery and finishing the digital piece, the process took him around six months.
06. Holarchy
There's not a lot to it right now, but Holarchy looks fascinating
Some side projects are big, finished projects, while others are works in progress, and the latter's the case for this project by Martin Silvertant, a Canadian graphic designer and sporadic type designer. Holarchy, he explains, is a layered modular typeface for a website that he's about design; it's in the early stages right now, but definitely looks promising.
07. Illustrated Tapes
Mixtapes! Illustrations! Interviews! What's not to love?
Who can resist a good mixtape? And if you also love great illustration then Sam Ailey, a London-based illustrator and designer, has a fantastic side project for you. Illustrated Tapes does exactly what it says on the tin: he gets creatives to curate their own Spotify playlists and supply their own artwork for them, and he also chats to them about their musical tastes and of course their work. It's the perfect way to hear some new sounds and discover some fantastic illustrators.
08. Illo Notes
Taaryn Brench hopes to demystify the world of illustration
Another illustration-based side project, Illo Notes is the work of Taaryn Brench, an illustrator and designer based in Leeds. It's an illustration blog that aims to showcase amazing illustrators and also demystify the illustration business, with a mix of interviews and tips. It's been up and running since April this year, and Brench is looking for more illustrators to interview; if you're interested, drop her a line.
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At least 26 people are dead and dozens have been left injured following a suspected arson attack on the Japanese anime studio, Kyoto Animation. In response to the tragic incident, fans of the popular studio have taken to social media to pay their respects, and launched an appeal to raise funds to support those affected by the attack.
The incident took place at about 10.30am, with local residents living near the studio saying that they heard an explosion before seeing smoke emitting from the building. Roughly 30 fire engines and ambulances responded to the attack.
According to local police, a man in his 40s was allegedly seen spraying petrol in multiple areas of the 1st Studio before igniting it. He is now in police custody.
Over 70 people were in the building at the time, which is located in Fujimi ward, Kyoto. Currently there are 36 people in hospital as a result of the attack, some in a critical condition.
In a tweet, Japan's Prime Minister Shinzo Abe expressed his sympathy to those injured and prayed for their quick recovery. Japanese television news network ANN captured this footage of the studio.
Kyoto Animation was founded in 1981 by anime producer Yoko Hatta. It has produced several popular anime TV series and films, including A Silent Voice: The Movie, K-On!, and The Melancholy of Haruhi Suzumiya.
Unlike other studios, Kyoto Animation pays its animators a regular salary, instead of the industry standard of paying per frame.
In response to the attack, the anime community has taken to social media to share their thoughts and pay their respects.
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Would Apple be the world’s most valuable brand if it were named Banana? In branding, few things are more important than choosing the right name. If things go well, you’ll be stuck with it for a long time. If things go very well, you might just add a new word to your language, if not to several languages, as demonstrated by Hoover, Xerox, Kleenex, and, well, Portaloo.
While logos play a major role in how we see a brand (see our guide to logo design), verbal communication means it’s still through a name that we usually first encounter a brand, spread it through word of mouth, ask for it, and look it up online.
Names are “the primary constituents in the product’s signification system,” semiotician Marcel Danesi says in his book Brands. They’re also one of the things that makes a brand protectable in law. Here we’ll look at how some of the world’s biggest brands got their names and what lessons can be learned from their stories.
Want more branding inspiration? See our post on the world's best logos.
01. Think familiar and accessible
Apple’s everyday name doesn't usually appear as a word – it lent itself to the design of an instantly recognisable logo
Startups might agonise endlessly over a name, while sometimes inspiration strikes in the most unlikely of places. According to his biographer Walter Isaacson, Steve Jobs was visiting an apple farm while on a fruitarian diet when it occurred to him that this common fruit could provide a fun, accessible name for a computer company.
It was short, catchy, un-intimidating, easy to turn into a logo, and the fact it had nothing to do with computers made it stand out from the coldness of the IT world – in contrast to other names Jobs was considering, such as the threatening sounding Executex. That the word is part of the existing vocabulary of many people also created a poetic resonance evoking associations Jobs probably never even considered back on that fruit farm – the tree of knowledge, the innocence of childhood, Newton’s apple (which provided an early logo), and even a urban legend that the brand was named as a tribute to Alan Turing, who committed suicide by biting into a cyanide-laced apple.
Despite leading to almost 30 years of disputes with Apple Records, the name was perfect. If Jobs had gone gooseberry picking instead, it’s hard to imagine similar success.
02. Experiment with spelling
Google was born when someone didn’t Google how to spell googol
Sometimes names pop up more through accident than inspiration. Larry Page and Sergey Brin had been calling their initial search engine BackRub because it analysed backlinks, which made sense to the initiated but sounded like a massage device to anyone else, and might have been difficult to develop into the world’s second most valuable brand (Amazon is number one, see point 6).
The words googolplex then googol, both very large numbers, came up during a brainstorming session, and the latter was then apparently misspelled when fellow Stanford grad student Sean Anderson checked whether the domain was available. It’s since become a verb used the world over, while we’ve yet to hear anyone tell us to 'Bing' something.
It partly works so well because it almost seems to sound like it should mean what it’s come to mean, with an existing verb suffix (-le) and a similarity to 'goggle', which means to look.
Here, the spelling change was accidental but there are plenty of companies that changed spelling intentionally to gain memorable, and legally protectable, names, though The Sci-Fi Channel’s heavily mocked transformation into SyFy should also serve as a warning to handle with care.
03. Sometimes literal works
Facebook – it does what it says on the tin
Some names are so literal that it would seem they couldn’t have taken much time to think up, whether they’re named after their founder or a descriptive summary of what they do.
'The Facebook', as it was originally known – the 'The' was later dropped only to be added back in by grandparents everywhere – was named after the physical paper directories distributed to freshmen at US universities, and it initially served the same purpose, first for Harvard then the Ivy League, and then overseas universities before opening to all in 2006.
The name was literal and simple enough to quickly transcend boundaries. Another of the world’s biggest brands, Coca-Cola was similarly direct when it was named in 1886 after what were then two of the main ingredients, coca leaves and kola nuts, helped by the alliterative phono aesthetics of the repeated 'co' syllable. In both cases, distinctive fonts helped very literal names take on the personality to stand out as a brand (see our post on the fonts of big brands, or our guide to free fonts to create your own designs).
04. Be inspired by the Gods
Whichever way you pronounce it, Nike’s name is a branding victory
Hundreds of companies have turned to the classics, to Latinate words and to ancient mythology with an almost superstitious faith that they’ll bring luck, and the idea that they’re a universal part of the collective consciousness, even if most people have little idea of who they were or what they mean.
Nike was the Greek goddess of victory, making it a great choice for a company that makes footwear for athletes, even people can’t agree on how to pronounce it, while the swoosh symbol perfectly renders the wind of victory to such a point that the logo alone is enough to identify the brand (as we examined in our post about textless logos).
Just a few other brands to follow the same track include Oracle, Mazda, Alax, Argos, Olympus, Athena, Orion Pictures, Pandora jewellery, Subaru pickup trucks, Dionysus wine suppliers – and Isis Pharmaceuticals, which renamed itself Ionis to avoid trading under the ISIS ticker on the Nasdaq following the rise of the Islamic State.
05. Look out of the window
Adobe is named after a creek in California
Sometimes it pays to take a glance away from the whiteboard and look outside. There are many companies named after where they were founded, even if it’s not immediately apparent. Adobe was named not after the building material, which is a nice association, but after a creek that runs behind the area where founders John Warnock and Charles Geschke lived in Los Altos, California.
Spot the bridge
Cisco Systems meanwhile is simply a shortening of the name of tech city of San Francisco – take a look at its logo and you’ll see it’s actually the Golden Gate bridge.
Oil and gas giant Shell, founded in 1897, is also named after something that had nothing to do with its business but which founder Sir Marcus Samuel had around him – his father, Marcus Samuel Senior, had run a business selling exotic seashells to collectors in London.
06. Think big, and think first
Amazon comes early in alphabetical lists and also conveys scale
Plenty of companies have chosen names that start with the letter 'A' purely to appear close to the top of alphabetical lists. Why that worked so well for Amazon was that choosing the name of the world’s largest jungle set out the scale of its ambition to become the biggest online store and to stock everything under the sun.
It was a happy accident that there’s also a 'Z' in the name, allowing designers at Turner Duckworth to create the smile logo linking the A to the Z, perfectly re-emphasising the concept behind the name.
According to Brad Stone’s The Everything Store: Jeff Bezos and the Age of Amazon, Bezos has his lawyer to thank for talking him out of his first choice of name – Cadabra – which he dropped after his lawyer misheard it as Cadaver.
Branding experts and dabblers in the occult will tell you that certain letters have magical power, while 'A' gets you near the top of the list, 'K' – Kodak, Kraft, Kelloggs, Kmart – is considered to be a strong and incisive, while 'X' and 'Z' also appear in brand names much more than they do in general speech.
07. The shorter, the better
It would be hard to fit Ingvar Kamprad Elmtaryd Agunnaryd on the side of the store
Ingvar Kamprad Elmtaryd Agunnaryd is a bit of a mouthful and would be unlikely to make it as an international brand. IKEA on the other hand is short, snappy and sneaks into the top 40 most valuable brands in the world according to Forbes. Ingvar Kamprad was the founder of the company, Elmtaryd is the name of the farm where he grew up, and Agunnaryd the name of the village where the farm’s located.
There’s no shortage of brands that amputated parts of their original name on the way to success. Sky Peer to Peer was shortened to Skype, Peter’s Super Submarines became Subway, Nintendo Playing Card Company became simply Nintendo.
And it doesn’t only apply to English. Toyota Motor Corporation was founded by the Toyoda family but changed its name because 'Toyoda' takes ten strokes of a pen to write, while 'Toyota', in both the katakana and hiragana systems, uses only eight, which is considered a lucky number in Japanese culture.
08. Don't be afraid to change
The familiar logo of Big Blue IBM
While it can be difficult to change names after becoming established, it’s not impossible. Changes most often come due to mergers and buyouts or forays into new markets that needs a more international-friendly names that can be pronounced by customers in other countries. IBM stands for International Business Machines Corporation, which is more expansive than the original and awkwardly hyphenated Computing-Tabulating-Recording Company.
C-T-R was so named because a consolidation of several companies with different focuses, and IBM, adopted in 1924, proved to be a much better definition for the course the company would take and its global ambitions as it began to expand beyond the US. There’s also speculation that Thomas Watson, the man who led the expansion, wanted to get one up on his former employer National Cash Register Company – grudges can spawn creativity!
Another lesson to learn from IBM is that it can pay to embrace your nickname. IBM accepted and used its Big Blue sobriquet which was seemingly coined by customers themselves owing to the large blue mainframe computers the company manufactured in the 1970s.
09. Work with what you have
Zara’s new logo, which was revealed earlier this year
The world’s most valuable general clothing brand after the self-named Louis Vuitton is Spain’s Zara. Founder Amancio Ortega Gaona originally planned to call his first shop Zorba after Zorba the Greek, but it turned out he wasn’t the only person in the town of La Coruña to have been inspired by the 1964 film, and a nearby bar with the same name complained.
Ortega had already had the moulds made up for his signage, so he hastily rearranged what he had to come up with Zara. Yet another near miss, and like most of the names on this list, the result is concise, distinctive, memorable, and trips off the tongue (in several languages). Today high streets the world over would seem almost to be missing something without Zara’s logo (although its latest iteration contains some controversial kerning).
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Jony Ive – the man responsible for some of the tech world’s most iconic designs is leaving Apple to start his own design firm, LoveFrom, with Apple as a major client.
So, what will this mean for the world’s largest tech company? Will its designs take a radical turn for the worse, or go on to reach new heights? Will its logo go back to its rainbow roots, as rumoured recently? Will the company ditch its 'i' now that it's got rid of iTunes? And you will you ever be able to get a decent Apple Pencil deal?
We examine five of the most likely possibilities.
01. Apple’s design gets better
Without Ive’s insanely strong obsession for thinness and lightness, Apple could become freer to explore new designs. Decisions like the one to make the MacBook Pro’s keyboard as thin as possible (at the ultimate expense of reliability) could be avoided. The balance of function vs form therefore may tilt a little more towards function.
After Ive’s departure, he’ll be replaced by Evans Hankey (Apple’s industrial design chief) and Alan Dye (the company’s user interface head), who will report to operations lead Jeff Williams. That could mean less workload placed on one person’s shoulders, more opinions being given on design, and perhaps less of a one-track-minded approach. Without Steve Jobs, Ive had no-one on his level or above to temper his decisions. Now with Hankey and Dye working together, that process could be restored.
Jony Ive was a hardware guy. Think about the videos he narrated: almost all of them were about the hardware aspects of the product. Now with two people in charge of design, one from hardware and one from software, there should be more passion for software design being added to the mix, ultimately improving the balance of Apple’s designs.
02. Apple’s design gets worse
Without Ive’s insanely strong design talent, Apple could be left without inspiration. With its talismanic design chief departed, Apple’s position may slip as rivals catch up with stunning designs of their own.
These days, Apple isn’t alone when it comes to amazing design in the tech world. The competition has seen how valuable inspiring, aspirational design can be, and companies like Huawei are coming out with some superb devices. Let’s, err, not talk about Samsung’s Galaxy Fold, though.
But while its rivals are working hard, we wouldn’t bet the farm on Apple losing its design mojo. Jony Ive never worked alone, instead collaborating with a carefully curated team that was put together over many years. They all share similar design sensibilities and understand each other extremely well. Ive’s departure is not being followed by a mass exodus of these designers; the core of Apple’s design lab is staying put, even if its chief designer is on the way out. While we may see fewer flashes of Ive brilliance, that doesn’t mean the whole design philosophy is going down the pan.
03. A new design maestro emerges from inside Apple
As we mentioned before, Apple’s design team is an incredibly talented bunch of people that works together closely every day. You don’t get hired by Apple unless you’re something special, and that’s especially true for its elite, exclusive design team.
With so much talent on hand, it’s entirely possible that the next Jony Ive emerges from within Apple’s ranks and is already at the company right now. With Ive taking the spotlight, few people even know the names of his fellow design team members – could this be the time for one of them to step into the limelight?
Ive took a break from managing Apple product design from 2015 to 2017 in order to oversee the design and creation of Apple Park; he stepped back to more of an oversight role with Apple’s devices, leaving his team in charge of day-to-day product design. That he was able to do this attests to the trust he placed in the abilities of his team, so we wouldn’t be surprised if one of them (or two, in the form of Hankey and Dye) steps into his shoes.
04. Apple hires a world-class replacement.
Alternatively, Apple may instead decide to hire a replacement externally. There’s plenty of talent out there, and a lot of people who share Ive’s keen sense for design. Apple has deep pockets and could afford to pry away any designer they wanted.
While this is possible, we don’t consider it too likely. Apple has hired famous names in the past, such as when it brought in Angela Ahrendts from Burberry, but in these cases it’s done so because it didn’t have anyone in the company ready to step up. With its legendary design studio, it most definitely does in this instance.
Still, it’s not outside the realm of possibility. Neither Jony Ive nor Tim Cook will be short of contacts who they can consult for the biggest and brightest talent to bring to the company, so don’t be too shocked if an outside design luminary heads to Cupertino in Jony Ive’s stead.
05. Things stay more or less the same
Apple will be one of Ive’s major clients, and the naming of his new company (LoveFrom, which was inspired by a Steve Jobs quote) suggests the link between the two will be strong. Few people (if any) understand Apple like he does today, and that’s a valuable asset the company won’t want to part with completely.
As well as that, many of Ive’s projects are years from being released. Apple likes to spend a long time perfecting a product before it ever sees the light of day – just look at the iPhone X. With his influence continuing to course through the company, it could be years until we notice any significant shift in Apple’s designs.
However, we’re a little sceptical of this angle. Although Apple has said it will remain a “major” client of Jony Ive, things won’t just continue as they are because Ive simply won’t have time. He’ll be taking on other clients for major projects of their own and will be up to his eyeballs in work.
While he may work with Apple on a few big projects here and there (Apple’s rumoured smart glasses or self-driving car, for example), he won’t be active at Apple on day-to-day design issues. Whether that means Apple’s design will improve or slide downhill isn’t yet clear, but we’re sure things won’t just carry on as normal.
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This issue, along with our usual reviews, inspiration and regular Q and A sections, we take you behind the scenes on the blockbuster Toy Story 4.
More importantly we celebrate our 250th issue, a huge milestone for any magazine, so we decided to do something extra cool, by bringing you our biggest ever expert tips collection. 250 tips on every aspect of 3D.
With a mix of features, interviews and training, you'll soon be on the road to mastering your own 3D projects.
We take a look inside 3D World 250 to find out what else is in store...
Buy issue 250 of 3D World here
Feature: 250 issue of 3D
Discover the past and future of CG
In this feature, explore some of the highlights from the history of CG and of 3D World. Plus check out what our expert panel of CG veterans thinks about the future of CG.
Tutorial: Our biggest ever tips collection!
Discover the best tips to boost your skills
To celebrate in style we talked to our tame 3D artist, plus industry experts and veterans from around the world and bring you their combined knowledge in the form of 250 top tips.
Level up now!
Tutorial: Megastructures
Part two of our iPad kitbashing training
Adam Dewhirst takes you on the second part of his training, showing you how to use kitbashed elements to create megastructures.
Training: CAT rigging
Part one of our new series on rigging.
Rigging is a complex topic but fear not. We start a new series this issue showing you exactly how to master the dark arts!
Subscribe to 3D World here
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For many artists and designers, the ultimate dream is to have a full-size Wacom Cintiq to draw, sketch and design on. But being arguably the best graphic tablets the market has to offer also means these heavyweight creative pen displays don't come cheap; they're usually within the reach of working designers who can offset the cost against tax, but for students and enthusiasts, they're just a bit too rich.
However, there's now a more affordable alternative available. Wacom has just announced the latest addition to the Cintiq range, the Cintiq 22 – a 21.5-inch creative pen display. So if you love the features of the Cintiq 16 (see our Cintiq 16 review) but find it's not big enough to create on, then the Cintiq 22 could be for you.
While the Cintiq 22 lacks the advanced features found at the expensive end of the Cintiq line, such as 4K resolution, pro colour performance and optical bonding, it delivers enough power to keep most creatives happy. There's vibrant colour, HD clarity and ergonomic design (more on that later). Best of all, it's yours for well under a grand: £869.99 or €999.90.
The Wacom Cintiq 22 features a 1,920 x 1,080 full HD display with 1000:1 contrast ratio, 72 per cent NTSC colour, 96 per cent sRGB and a 22ms response time. Its hardened cover glass has an anti-glare treatment and a natural paper-like feel, making it ideal for sketching and drawing at any time, day or night, and it comes with an adjustable stand that gives you an 16-82 degree angle for ultimate ergonomic comfort.
As with most other Wacom tablets, the Cintiq 22 works seamlessly with the Wacom Pro Pen 2, which provides 8,192 levels of pressure sensitivity and about 60 degrees of tilt response, and gives you incredible precision and accuracy. And thanks to Wacom's EMR technology, you don't need to put in a battery or recharge the Pro Pen 2; it simply draws its power electromagnetically from the Cintiq itself.
The Pro Pen 2 never needs recharging
If you've ever coveted a full-size Cintiq but haven't had the budget to make it a reality, the new Cintiq 22 could very well be the pen display you've been waiting for, and it's available to order now from the Wacom eStore.
Not sure the Cintiq 22 is the right fit for you? Here are some other great pen display options...
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Two months after the alarm sounded warning of a WannaCry-level event, progress in patching exposed Windows systems varies by country and industry.
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Lenovo, Acer and five additional server manufacturers are hit with supply-chain bugs buried in motherboard firmware.
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Identifying tokens and random addresses, meant to create anonymity, do not change in sync on some devices -- opening an attack vector.
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Do you want to create marketing material that gets results? The Silicon Valley Digital Marketers Bundle can teach you a whole lot for the low price of just $39.99.
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Apple's rainbow logo might be about to make a comeback, if a report from MacRumors is to be believed. The multi-coloured design, which served as Apple's logo from 1977, was replaced by a single colour version in 1999.
If Apple does decide to bring back its old logo, it wouldn't be the first brand to rely on its heritage. Our guide to logo design takes a look at how 'retro branding' is a popular move for companies looking to reawaken affection in consumers.
And according to MacRumors, the rainbow logo could be making a reappearance as early as this year. In its report, the site claims that a "well-connected MacRumors tipster" with a reliable track record sniffed out the possible design development.
The site speculates which devices could be decked out in the rainbow logo, with the Mac leading the way, seeing as the original Macintosh sported the design. New lines of iPhones and iPads have also been cited as potential contenders. MacRumors even went and mocked up how the classic design would look on sleek new devices (see the images above and below).
MacRumors has imagined how the rainbow logo would appear on new devices
Would a return to the six-colour logo, which made its debut on the Apple II computer, be the right move for Apple though?
After all, the company has always prided itself on doing things differently. The designer behind the rainbow logo, Rob Janoff, even explained in our interview that the colours were originally dropped so that Apple could keep ahead of the competition. Would a step back for the logo be a step back for the business?
It would be tempting to think that this decision is part of the fallout from Jony Ive's decision to step down as Apple's chief design officer. However Apple has been embracing the essence of the design over the years, including a redesign of the Apple Park that saw its stairs and walkways decorated in the rainbow palette.
Of course, this could all come to nothing. You know what rumours are like. In the meantime, if you're looking to create your own Apple artwork, check out our buying guide to the best Apple Pencil deals available right now.
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Keeping bots out always is a numbers game – sadly, the availability of easy-to-use machine learning libraries made cracking many classic captcha types simple. Google stands at the forefront of the botting storm – after all, something only exists if it can be found (prominently) in Big G's indices.
Due to this, Google engineers devote significant amounts of effort into designing anti-bot systems and solutions. They are made available to third parties via a product called reCAPTCHA, which we will go over together during the following steps. For more tools unrelated to bots, see our web design tools post.
Before getting started, however, a few basic things must be cleared up. First of all: keeping bots out is always a server-side game. Inspecting the return values of your anti-bot measure on the client is idiotic. An attacker can analyse the source code or simply work around it by patching the return validation.
Secondarily, keep in mind that not all bots are created equal. Locking out the GoogleBot, for example, leads to your web site not being indexed anymore. Similar problems can occur with other industry-specific bots which often to more good than harm. Finally, bots might be a lesser evil in some cases – when traffic is all you need, a bot click turns out to be just a click.
01. Sign-up a go-go!
Use your Google account to sign into ReCAPTCHA
Google keeps a close eye on reCAPTCHA users. Head here and use your Google account to sign in. Add "localhost" in addition to your favourite domain under Domains. Pick the "I'm not a robot" checkbox type as it is the most well-known anti-bot measure.
02. Store site and server keys
Google rewards persistence in working through the setup process by displaying a server and a site key. While the latter can be shared with third parties, ensure that the secret key never leaves the confines of your server environment.
03. Understand site verification
Google uses a variation of the challenge-response process to ensure result integrity. Captcha instances return a cryptographic value which the server is to "turn in" to a verification system hosted by Big G – if the results turn out to be valid, a correct HTTP response is returned to your back-end logic.
04. Set up Express.JS
It's important to be demonstrating a turn-key solution showing the entire authentication flow. Due to this, we need to start out with a "server" of sorts – Express JS was a frequent topic recently, so deploy it to a newly-created project skeleton.
05. Prepare to serve
Loading the well-known "I am not a robot" checkbox requires an HTML file. Given that this is a sample demonstrating the interaction flow, start out with a static document containing the mark-up shown accompanying this step.
06. Understand and test
Run the code to see these results
Google provides an API file containing the captcha logic. When api.js is loaded, the code contained in it analyses the DOM and replaces any <div> tags containing the correct class tag. <submit> tags are left alone as of this writing. Either way, run the code in a browser of choice to see the results shown above.
07. Load some elements
Creating a delivery chain in Express.JS requires a bit of intelligence. One really useful helper is BodyParser. When embedded into a rendering workflow, the individual fields returned from the server can be accessed using object-oriented design patterns which greatly simplify handling them.
08. Prepare to verify...
Google's checkbox does its magic in the background — when done, a new field called g-reCAPTCHA-response is added to the form attributes. This data must be sent to Google's servers for verification. The long string in the code accompanying this step is will be replaced with the one Google assigned to you.
09. ...and enquire at Google's servers
The next act involves firing off the URL to the server. This is accomplished via a traditional JSON request based on address created in the previous step. Its results are then analysed – if an error is thrown, a failure will be returned to the client-side application.
10. Set it loose
Express.JS's HTTP server needs to be unleashed. This is best accomplished by using the app.listen structure. Keep in mind that ports with a number that is smaller than 1024 are restricted to the root user on Unixoid operating systems – 3000 is therefore a safe bet.
11. Adjust the form
Finally, our form needs to be put in touch with the local server running inside of Node.JS. This is best accomplished by adjusting the action string – be sure to point the target to a valid domain, especially if you don't use a local Express.JS server.
12. Bring it up!
Use Python's quick HTTP server to test the client-server system
Testing our client-server system requires two servers due to Google's origin verification. Fortunately, Python provides a quick HTTP server – use it to provide index.htm, while Express.JS gets enlisted to performing the verification of the returned response.
13. Perform a dry run
Give your Captcha a test run
When running, check the checkbox and fulfil any challenges Big G might throw at you. The server usually does not demand much in terms of verification, and proceeds to displaying the contents shown above.
14. Disable the submit button
Disabling the submit button at startup is good for usability
Google's examples ignore the client-side submit button as an attacker can always make it reappear with some JavaScript. While disabling the submit knob in relation to the Captcha does not improve security, it does have positive effects on usability. Let us start out by disabling the button after start-up.
15. Handle CAPTCHA events
Now add an event handler
Next up, an event handler must be added. Google's CAPTCHA API will invoke it whenever the user passed a verification attempt from its client-side point of view.
16. Excursion: dynamic CAPTCHA rendering
Google does not limit developers to spawning reCAPTCHA elements during page load. The render() method found in the reCAPTCHA API lets you designate one or more <div> tags on the web site which are to be transformed into reCAPTCHA widgets.
17. Enable button if needed...
With that, one main issue remains. The submit button must be re-enabled when the click event provided by reCAPTCHA arrives in our application code. Loading jQuery into such a simple example is unnecessary, so fall back to some plain JavaScript instead.
18. ...and clean up after us
Google cannot store challenge response data forever. Due to that, verification times out quite fast – by default, our program does not find out about that. Fortunately, the API contains an additional field which can be used to notify.
19. Use additional attributes
There are plenty of useful properties to play with
Head here to find a list of properties included in the JavaScript API. They let you adjust various behaviours – for example, the reCAPTCHA widget can also be rendered in a night-friendly colour scheme!
20. Work transparently…
Google recently introduced a third version of the reCAPTCHA API which does not require explicit user interaction. Instead, you simply load it during page initialisation – the code automatically monitors the behaviour of the user running wild on the web site.
21. ...and provide additional information
The plug-in profits from further data about the action that is being performed on the website. The snippet accompanying this step will announce that the user currently visits your homepage. More information on the API can be found in the documentation.
Join us at Rich Mix, Shoreditch on 26 September for Generate CSS, a bespoke conference for web designers brought to you by Creative Bloq, net and Web Designer. Book your Early Bird ticket before 15 August at www.generateconf.com.
This article was originally published in issue 287 of creative web design magazine Web Designer. Buy issue 287 here or subscribe to Web Designer here.
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The August issue of National Geographic is packed with features that shine a light on global migration patterns. And to help get its message across, the magazine has created a batch of powerful editorial designs that roam beyond borders themselves.
For readers, the use of full-bleed photography and headlines that drift off the top of the page represent an impactful change of pace. And considering that the issue highlights the plight of refugees, it's a clever design choice that will make people pay attention to these pressing concerns.
If you want to push your own lettering further, check out our typography tutorials.
"The headlines on each of the main stories will run off the page, reflecting the issue's theme that there are no borders, that everything is fluid and that people migrate," the magazine revealed in a press release.
With mainstream media outlets in the US choosing to focus on stories about domestic migration, National Geographic has broadened its scope to highlight that they're just part of a global trend. The August issue of the magazine includes features on the history of human migration, a report from the world's largest refugee camp in Bangladesh, and an insight into the world's busiest land border crossing.
As a commentary on these migration issues, National Graphic's creative director, Emmet Smith, decided to push the limits of magazine design.
"We are living in a time where borders fail us," says Smith. "We wanted to reflect that notion in the headlining of our special issue on human migration, having the type move through the pages, rather than obeying traditional rules as to where it can-and can't-be. It is a signal to our readers that something is changing here."
One thing that hasn't changed though is that National Geographic's familiar yellow border can still be seen on the cover of the August issue (below).
This element is the magazine's most recognisable design asset, so we can't help but wonder if the editorial team considered removing the border for one issue only to help underline its migration message.
The familiar yellow border still appears on the cover (Image: National Geographic)
Either way, this is one of the most striking and worthy uses of typography and print design we've come across in a while. National Geographic has form when it comes to pushing boundaries in its reports and design choices – who could forget that distinctive iceberg cover – and we look forward to seeing what it will come up with next.
See the complete set of features in the August 2019 issue of National Geographic by clicking here.
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The NASA logo is probably the most controversial thing about the organisation. Millions in the US and around the world follow NASA’s story religiously, and it enjoys a position as one of America’s best-loved government agencies. It has helped underpin the country’s global scientific leadership and its superpower status.
On 21 July 1969, Commander Neil Armstrong was the first person to step onto the surface of the Moon – the highest moment in the history of America’s space programme. Now, 50 years later, NASA is marking the occasion with events around the world under the strapline ‘Next Giant Leap’ (image below). Many in the design community would argue that to fulfil this forward-looking sentiment NASA could do with revamping its comms, starting with a new logo. (If you need logo help, too, see our guide to logo design.)
If NASA is ever to regain the optimism that helped blast the Apollo 11 crew all the way to the moon, a trawl through the history of NASA’s logo points to the need for something new. Let's explore...
The breaking dawn – or is it a sunset? – is also a theme in this design commemorating 50 years since the first moon landing
Before NASA there was NACA
Before NASA there was the NACA, and this is the refined form of its insignia used up until 1958
The National Aeronautics and Space Administration was formed in 1958 in response to the Soviet Union’s successful launch of the satellite, Sputnik. Well, we say formed, but NASA really evolved out of the National Advisory Committee on Aeronautics.
With roots dating back to 1915, the NACA didn’t have a logo per se, but used a variety of insignia based around a pair of eagle’s wings, along with a shield to signify its military potential. In the 1950s, the wings and shield were merged together to form an outline that surrounded the letters NACA in a tidy lock-up which probably had some bearing on how NASA’s future graphics would be approached.
The NASA Seal – 1958 to present
NASA’s official seal – the US government equivalent of a coat of arms for the Agency
As a federal agency, once NASA was founded it needed an official seal. Federal seals are sometimes used in the same way as logos, but also hold heraldic and ceremonial significance. Working with other artists in NASA’s Lewis Research Center (now the Glenn Research Center), James Modarelli, head of the Research Reports Division, developed the NASA seal.
Illustrative in nature, the key element of the NASA seal is a stylised pair of wings based on a supersonic wing concept designed by aeronautical engineer Clint Brown. Linking back to the NACA emblem, the wing shape straddles a spherical planet, which is orbited by an object, with a moon and stars in the background. Although they look like they might be constellations, the star patterns are artistic embellishments. The shadow the wing drops onto the planet cleverly gives it a three-dimensional aspect.
After various officials within NASA had given their input, the seal went through several layers of stakeholder approval – something anyone who works in corporate branding can identify with. Firstly, it went to the Heraldic Branch of the Army Office of the Quartermaster General. Then to the Fine Arts Commission. At this stage, Clint Brown noticed that his wing design had been drawn upside down, so the artwork was sent back for amendments. After second looks by the Heraldic and Fine Arts bodies, the NASA Administrator Dr T Keith Glennan approved the design and it was sent to President Eisenhower for final sign-off.
NASA’s first logo – 1959-75
NASA’s ‘meatball’ logo was derivative of the Agency’s seal and had a Buck Rogers feel to it
Because the official seal is only really used on letterheads, awards and on NASA’s ceremonial, you might be wondering why we’ve gone into so much detail on its design. The reason is that rather than have a fresh logo designed for everyday communications, Glennan asked Modarelli to simplify the seal.
This process took place alongside the development and approval of the seal and resulted in a design with a circular blue background (Pantone 286) to represent a planet, with the wing configuration central in red (Pantone 185) signifying aeronautics. This time, the wing straddles the acronym NASA in a high contrast serif type with stars in the background representing space and an orbiting object to symbolise space travel.
NASA usually refers to this logo as an insignia, which gives it a bit of a military flavour. It was on Neil Armstrong’s space suit when he stepped onto the moon 50 years ago, and has appeared on spacecraft, airplanes, buildings, ground vehicles, signage and so on – never mind the fact that, with its little stars, it's tricky to render at small sizes and on certain media.
The NASA logotype – 1975-92
Dubbed ‘the worm’, the NASA logotype had a modern feel that was hated by old-timers in the Agency
In 1974 the controversy began. NASA’s leadership decided that the Agency needed a more contemporary look. The idea didn’t just come out of the blue. Between 1972 and 1981 nearly 50 government agencies looked at their identities and made changes with support from the Federal Graphics Improvement Program and the National Endowment for the Arts.
NASA engaged the New York identity design firm Danne & Blackburn to create a more modern logo. They analysed the Agency and how the logo needed to be used. Danne & Blackburn noted that the round emblem really reflected an old fashioned sci-fi take on the space programme, and didn’t chime with the real science that NASA stood for.
The fluid curving of the letters represented continuity, and there’s something aerodynamic about the design
There is nothing pictorial about the modernist design Richard Danne and Bruce N Blackburn came up with. Their single width lettering symbolised the unity of NASA and of the US in general. The fluid curving of the letters represented continuity, and there’s something aerodynamic about the design. Without their horizontal strokes, the 'A's have a sense of vertical thrust.
Though the actual changeover took years to implement, the way it was communicated may have been the reason why some NASA employees dug in an fought against what they called the ‘worm’ logo. Federal agencies are almost like feudal states and because news of the new logotype arrived on paper headed with the new, as yet unseen logotype, it landed as something of a surprise for middle managers across the organisation. It came with a 90-page standards manual, which is available to read on the NASA website. Younger staff tended to like the new logo, older staff didn’t.
Danne & Blackburn’s logotype was implemented in 1975, with NASA Administrator Dr James C Fletcher commenting on how the Agency believed in progressive design. With its sleek, geometric logo and rigorous visual standards NASA won the 1984 Presidential Award for Design Excellence.
Return of the meatball – 1992 to present
Perhaps the battle lines were drawn when Frank ‘Red’ Rowsome, Head of Technical Publications at NASA, referred to the original round insignia as a ‘meatball’ during the introduction of the ‘worm’ logo. Or it could be that with the Challenger disaster in 1986 and other setbacks morale was low and something needed to change. Possibly, pressure from older employees was the main factor.
Whatever the case, on his first day in the job in 1992, the new administrator Daniel S Goldin took the snap decision to reinstate NASA’s original logo. The move was just as controversial as the introduction of the logotype in 1975 and was the subject of widespread debate.
This hybrid logo was suggested by meatball designer James Modarelli and others when the furore over the logotype broke
The argument rages on to this day, and like so many issues at the moment it polarises progressive and conservative viewpoints. Debate was reignited in 2017 when NASA, for the first time, licensed the ‘worm’ logo to fashion firms to use on their products. This revived interest in the modernist logo.
Perhaps, with some calling for NASA to keep its current logo, others saying the logotype should be reinstated, and the Agency looking like it needs fresh impetus, now is the time for a brand new NASA logo… the next giant leap.
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Threatpost: Bug in NVIDIA’s Tegra Chipset Opens Door to Malicious Code Execution
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Researcher creates 'Selfblow' proof-of-concept attack for exploiting a vulnerability that exists in "every single Tegra device released so far".
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