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If you missed a top bargain in last year's Black Friday deals and the January sales, fear not. HP's Presidents' Day sale sees huge price drops on everything from laptops and desktop PCs to printers, monitors, accessories and more. But the one deal that got our attention was this epic $702 saving on the powerful HP Envy 17t. That price cut includes the original $650 discount, plus a cheeky extra 5 per cent off to celebrate Presidents' Day (use code 5PDS2020 at the checkout).That means right now you can get your hands on this impressive piece of kit for just $997.49! This is one of a number of discounts across a range of HP devices, many of which you can use the above code for a further 5 per cent discount. And there's also the chance to get an additional 10 per cent off select PCs and monitors with code 10PDS2020. The HP Envy range has become a popular choice among creatives in recent years, so much so it features prominently in our roundup of the best laptops for video editing. Packing plenty of performance, full HD display and roomy enough to handle the most labour-intensive tasks, it's not hard to see how the HP Envy range has caught many a designer's eye. If the HP Envy 17t's specs don't fit your needs, HP has a lot more to offer. Below are some more of the best HP deals currently running. To see the full range of laptops, and other hardware and accessories on sale, visit the HP website. Not in the US? Here are the top HP laptop models, with the very best prices, in your area: View the full article

Animated logos are becoming a huge trend, and with good reason. The main purpose of a logo is to create brand awareness, and movement gets attention. A logo that moves has more chance of getting noticed, can keep the viewer's attention for longer, and can be more memorable since it needs fewer interactions to be recalled. As our logo design guide states, logos also need to live and evolve. Adding movement is a clear way to bring a logo to life and can make even a staid logo seem more fun and whimsical. Animation can range from subtle movements to complex 3D effects, and moving logos are being placed in the intros and outros of videos, in social media posts, email campaigns, presentations, and in place of regular logos on websites. Some brands are even using several animated logos for different uses, following the trend of developing temporary logos for individual campaigns and products. Here we look at 10 of the best examples of moving logos to inspire your work. 01. WWF There are many ways to animate a logo but sometimes a very subtle movement is best. Even the smallest of movements is enough to draw the eye and create a pleasing effect that keeps the viewer watching a second longer. While there are a lot of animated logos out there with both the mark and logotype forming and disappearing, an animation that lasts too long can detract from the logo itself. Jenny Leibundgut’s 1986 WWF logo is a well-known classic. When Brien Hopkins animated it for a Planet Nutshell-produced animated film for a campaign to prevent arctic drilling (below), he added just enough movement to the mark in the logo lockup to make us smile, and add extra emotional engagement and interest. The design was for one single use. Bringing the panda to life with movement of the paws and head to make it look like it's walking fits with the mood of the animation in the film that precedes it. 02. Designtorget A more elaborate take on animating a logo can involve using the movement to tell us more about what the brand does than the static logo alone. This animated logo created by Stockholm design agency Kurppa Hosk for Scandinavian interior design store Designtorget tells us more about the brand, and about its logo. The 'D' and 'T' are used to create various products that the store sells – furniture, tableware – in a way that also highlights the brand's stylish, often minimalist Scandinavian aesthetic. It's a great example of how animating a logo can contribute to the story behind a brand. 03. Allvit Another use of animated logos is to draw attention to something we may not have noticed in the original logo. Many logos carry meaning through symbols used in place of letters or hidden in the negative space in their designs, but sometimes people take some time to notice – think the famous FedEx logo (or the more recent Multiply logo). These features can be exploited and made more apparent in moving versions. This animated logo by Nikita Melnikov for Norwegian online book search depository Alvit makes the magnifying glass in the negative space of the 'a' explicit, telling a story that highlights the website’s searchability. 04. Feral Sphere Animation can also emphasise the personality of a logo, and of the brand itself. UK fashion label Feral Sphere makes clothing made from organic cotton using 100 per cent renewable solar and wind energy. Its logo, devised by Mind Design and illustrator Lenia Hauser, was inspired by Japanese Shinto spirits. It is quite literally a feral sphere, and the animation highlights its feral personality even more. The movement of the lines brings to mind the wind in trees, flocking birds and swarming bees, all connections to nature that seem appropriate for a brand with a commitment to sustainability. The movement emphasises the brand's organic feel by highlighting the wild sense of freedom in the logo's hand-drawn design. It feels distinctive, personal and hand-crafted. 05. Fox Animating logos can also be useful when making a transition to a new brand identity. If a rebrand is particularly radical, animation can be used to show a recognised logo transition into a new design to communicate the change. Last year, Fox Entertainment launched an additional logo to complement its main identity, with radically different chunky letterforms. The abstract treatment for animations and digital use, designed by Trollbäck + Company, has a satisfying weight to it and aims to show a company taking risks and leading the way. But used alone it may have confused viewers, particularly since the 'F' looks more than a little like a 'V', meaning the logo could be read as Vox. Using it in animations showing a transition from the regular logo help to ease the new identity on board. 06. Eat Black and white is a classic combination for logos and there's no reason to stray from that when animating them either. Black and white logos are among the most enduring and can potentially never go out of style. They can be simple and classy, they can call attention without distracting, and they can be applied to a wide range of designs. This simplicity also allows motion designers to play with concepts when animating them, like in this logo for EAT, an exhibition on food in Singapore. Designed by Fable, it plays with beefing up the logotype as it eats, and becomes "FAT". 07. Yokohama For additional impact that creates a memorable logo, movement can be combined with sound. A logo with its own soundmark can even become a meme – the Intel logo chime anyone? (See our best audio logos for more examples.) Television and film companies have long used moving logos accompanied by sound at the intro or outro of productions to generate strong brand awareness. In 2018, Japanese rubber company Yokohama took a novel approach when it animated its red lines logo by recording the sound of the wind passing through the leaves of trees in the company's own forest, to show its greater commitment to the environment. It even made the above video about the making of the sound. The video of course closes with the logo in question. 08. Boro When it comes to logotypes, animation is a great way to bring out the character of the type, whether that involves rigid geometry, sharp angles or rounded curves. This animated logo designed by UI design agency Boro for itself accentuates the rounded shapes of the type, showing the letters rolling out of each other. The finishing touch is the little surprise of the full stop that pops out of the curve of the 'r' after a slight hesitation. It makes the agency seem modern, fun and approachable. Read more: The 10 best logos of all time Where to find logo inspiration Infographic: take a tour of the top logo trends for 2020 View the full article

Apple's iPhones are always much-coveted, but the most common criticism is that they're too expensive. But it looks like a new "budget" iPhone could be with us sooner than expected. Rumours suggest that the iPhone 9, also referred to as the iPhone SE 2, will be released in March, at a cost of just $399. This is around the same price as the first iPhone SE (SE stands for Special Edition, in case you were wondering). This means the iPhone SE 2 could end up on shelves in just a few weeks, and may be a strong contender for one of the best smartphones available. There's a lot of buzz around this release (and the usual deluge of rumours). OnLeaks and iGeeksBlog have put together a video (below) showing how this new phone might look. Compared to the now discontinued iPhone SE, version 2 is expected to have a slightly bigger screen – 4.7-inches, which is in line with the iPhone 8. There'll be Touch ID with a Home button at the bottom of the screen (not Face ID, though we don't imagine that will be a huge problem for most) the same super-fast A13 Bionic Chip used in the iPhone 11, and the same camera – albeit with just a single lens. That means the camera should be pretty capable, could this cheaper iPhone even make it into our list of the best camera phones? Looks-wise, the Apple logo has moved to the centre of the phone like in the iPhone 11. And there's expected to be frosted glass on the back of the phone, rather than the glossy glass of the iPhone 11. OnLeaks thinks it'll be available in red, space grey and silver. With these specs and that price, we can imagine the iPhone 9 flying off the shelves. Although of course, Apple hasn't confirmed anything yet. There's also the issue of Coronavirus holding up production, meaning that the mid-March release date could be optimistic. There has been a lot of the debate around the name. Calling this phone iPhone 9 may sound like Apple is going backwards, but it sort of makes sense when you consider this design follows the iPhone 8 more closely than any other. And it seems that iPhone 9 is more likely than iPhone SE 2. Notebook Check reports that images from South Korean company, Korea Telecom, show the phone is being advertised as the iPhone 9, along with the Galaxy S20 series. Will it really be called the iPhone 9? Fast Company suggests that this low-cost phone may help Apple compete in the Chinese and Indian markets, as well as appeal to a range of people who previously couldn't afford an iPhone. And its strategy may well be to sell these customers a cheaper phone, in the hopes of drawing them into Apple's ecosystem overall. Because once you've got an iPhone, you'll then probably want an iPad (see our cheap iPad deals), and you may even sign up to services like Apple TV or Apple Music. As usual, we'll take all these rumours with a pinch of salt. We'll just be sitting here with our fingers crossed that a budget iPhone with an incredible camera could soon be within our grasp. Read more: iPhone 12: Surprising design decision revealed 4 things we love about the new iPhone 11 (and 3 things we do not) The best iPad accessories for 2020 View the full article

The release of Firefox 73 fixed high-severity memory safety bugs that could cause arbitrary code execution and missing bounds check that could enable memory corruption. View the full article

Among other issues, the music platform didn't limit the number of login attempts someone could make. View the full article

The world, it seems, can never have enough Pokémon games. Ever since 1996, Nintendo's been pumping them out on a regular basis; not only have there been far too many standard Pokémon titles over the years for us to count, there have also been assorted spin-off games and mobile apps. That's a lot of Pokémon. A brand new title, Pokémon Home, has just launched on Nintendo Switch (and also on iOS and Android), and it's already got people talking. This one isn't a game; it's more of a cloud service that enables you to move and trade your Pokémon from various games, but that's not what's got Pokémon fans excited. Pokémon Fusion revival inspires fan art frenzy No, the real talking point surrounding Pokémon Home is about an unlikely piece of character design relating to series stalwart, Professor Oak. Oak, we're sure you all know, is a sensible-looking, mild-mannered Pokémon Professor and former trainer who gives you your first starter Pokémon in many of the games. In Pokémon Home, however, there's a new character: Grand Oak. And he's causing quite a buzz. Professor Oak and Grand Oak; spot the difference While Professor Oak is the sort of person you'd definitely find in the kitchen at parties, Grand Oak is nowhere near as retiring. A self-styled great Pokémon researcher, he looks like Professor Oak might if he had a life-changing experience on holiday in Ibiza and then spent the next six months partying hard and finding himself, man. Gone are the sensible haircut and lab coat; Grand Oak rocks a pair of killer green shades, a soul patch and the sort of mullet that hasn't been seen in the wild since the late 1980s. The kind of mullet that Pat Sharp or Andre Agassi could only aspire to. There's no arguing that Grand Oak looks like he means business, and he's definitely on a mission. Within the Pokémon Home story he's the creator of this online system, and he's determined to create the ultimate Pokédex by cataloguing all the Pokémon uploaded to Home. And with his resemblance to one of the 20th century's great scientific minds, who's going to argue? We just hope his attention doesn't wander. It's not that we doubt his abilities; it just looks like he might have other things on his mind at the moment. But, you know, as long as he's happy then that's just fine by us. If you want to hang with Grand Oak then head for the Pokémon Home site. And if you haven't got a Nintendo Switch yet, see today's best deals below. Related articles: 3 reasons why we're super-excited about Super Nintendo World The 8 best retro gaming consoles Sleek new-age Game Boy looks better than the original View the full article

In May last year, US department store Sears updated its logo. At the time, we wondered if we were getting design déjà vu, as the logo looked not unlike the Airbnb symbol. And we're getting that same feeling again, as Sears has unveiled yet another update to its logo, just nine short months after the initial rebrand. Instead of scrapping the whole thing and going back to the drawing board, Sears has stuck to its guns, sort of, and just updated the symbol. What previously looked like a a candle or an igloo or just a bit of a mess, depending which way you viewed it, now looks like a little house, a bishop's hat or the nib of a fountain pen. It may be marginally less messy, but is it any better? (Spoiler: We don't think it'll make it into our list of the world's best logos anytime soon.) The 2019 version of the Sears logo was mocked for its similarity to the Airbnb logo We really want to like this update, but it's hard to get that excited about it. Especially bearing in mind that one survey showed that 79 per cent of people preferred the previous Sears logo to the 2019 version. We can't imagine this 2020 version will fare much better, mostly because we're simply not convinced this new little house is an improvement – although we do see how it could help Sears wiggle its way out of a legal battle with Airbnb (all comments on this are purely speculative). Over on Brand New, the comments were pretty brutal. JustJoeDesign said: "It looks like a home a troll would live in." Tom Swinnen said: "Seariously?" (10 out of 10 for the pun) and Eligio Jose Rosa said: "This a good representation of Sears right now. Undecided, Outdated and extremely lame." So if Sears was looking to win back customers with its new logo, it looks like its efforts have fallen flat. We'll look forward to next year's update. We're expecting a top hat, or maybe a bit of roof. Read more: New Paralympics logo is cleverer than you think KFC's Valentine's Day cards are unexpected genius Where to find logo design inspiration View the full article

Learning how to add fonts in Photoshop is a basic but useful skill. Almost all design projects will require the inclusion of text at some point. And while Photoshop may not be the first port of call for any budding typesetters, it has the capacity to replicate many of the best text options from other apps, combining them with its own more visual tools to create novel and original designs. And with rising demand, it has never been easier to discover and acquire new and free fonts. This article will explain how to download a font from an online library and activate it in Photoshop, as well as consider any licensing issues that may come with it (these processes are based on modern operating systems and may differ slightly with older versions). Get Adobe Creative Cloud to get started in Photoshop, as well as access a huge library of fonts available with Adobe Fonts. How to add fonts in Photoshop on a Mac 01. Browse and download font Free online font libaries, like DaFont can be good places to experiment, but make sure you read the license agreements before using for client work Browse your chosen library to source a font that suits your project. Most of the more established sites will offer filtering options, allowing you to narrow your search down by certain parameters, such as displaying only handwritten or decorative fonts. When you find a choice you’re happy with, click the download button. Make sure you quit any active applications at this point. 02. Locate font file on system Locate the font file in your Downloads folder, most likely with file 'otf or ttf' extensions Locate the font file in your Downloads folder. If the folder is zipped then double-click on it to access the contents. If you downloaded multiple fonts, they will each have their own separate folder. Two of the most common font file extensions to watch out for are OTF and TTF (see section below for more info, or see our guide to common image file formats). 03. Install font Double-click on the font file to open the Font Box application and install the font For installing your font, you have three options: Option 01: Double-clicking on the font file will open the Font Box application, where you can simply click a button to install the font, making it available across all applications on the computer, not just Photoshop. Option 02: You can manually copy/move the font files from the Downloads folder into either the Users/Library/Fonts folder (to make available for specified, individual users) or Library/Fonts (to make available for all users). Option 03: To use a Font Management Utility, refer to that documentation for instructions on adding and activating fonts. 04. Select font in Photoshop Open Photoshop and scroll down the Character tab until you reach the desired font. Select it and use the Type tool to add to your project. To apply artistic effects to your text you may need to rasterise it first, which turns the text into a bitmap pixel-based image. Once you do this you will no longer be able to edit the text. How to add fonts in Photoshop on Windows 01. Browse and download font Make sure you read the license agreements before using fonts downloaded online for client work There are plenty of online libraries that give you a wide choice of fonts to choose from. Utilise their filtering options to focus in on the styles you want. You can also download fonts from the Microsoft Store. Click on the download button and close any active apps. 02. Locate font file on system Locate the font file in your Downloads folder, most likely with file 'otf or ttf' extensions Open the Downloads folder and scroll down to the recently added font file. If the folder is zipped then right-click and select 'Extract All' on it to access the contents. Fonts are downloaded on an individual basis, so there will be multiple folders if you downloaded multiple fonts. OTF and TTF are the two most common font file extensions. 03. Install font Right-click on the font file and click install or double-click to open the installer There are three options for installing your font in Photoshop on Windows. Option 01: Right-click on the font file and click install, making it available across all applications on the computer, not just Photoshop. Option 02: Click on the Start Menu > Control Panel > Appearance and Personalization > Fonts. You can simply copy and paste new font files into this list of activated fonts. Option 03: To use a Font Management Utility, refer to that documentation for instructions on adding and activating fonts. 04. Select font in Photoshop Your chosen font should be available on your computer now, so open Photoshop and select it in the Character tab. If you wish to add any of Photoshop’s artistic effects you may need to rasterise the text, making it an editable bitmap pixel-based image. Make sure you’re happy with your text first, since you cannot edit it after this process. Font licences: What to consider Google Fonts provides an open-source collection of fonts that can be used privately or commercially Although free font libraries may seem to be a limitless smorgasbord, it is worth considering licences before tucking in. Since every font is regarded as its own piece of software, it is bound by the same licensing agreements when installing onto your computer. Each font comes with some type of licence, which you can check on the End-User License Agreement that comes with any font you download. A desktop licence will allow you to install a font onto your computer and use in any application, which makes them fine to use for personal projects, but problems arise when you take on any commercial work. Even if a font is advertised as a free download, it may still have restrictions on it regarding commercial work. In the same respect, it’s possible that someone may upload a font and describe it as ‘free’ without the original designer’s permission. When working for clients it is imperative that you check the font licence and purchase any licences if needed. The easiest away around this is open-source licensing. These are free to download and use, so long as you don’t resell and occasionally give credit for use. A good example is Google Fonts, which is an open-source collection, popular with designers, that can be used privately or commercially. How to add fonts in Photoshop: Adobe Fonts Adobe Fonts is available with any Adobe CC subscription. Access online or through the app Another good resource for Adobe CC subscribers is Adobe Fonts, which presents a huge selection of typefaces, cleared for personal and commercial use, with seamless integration with CC. If you are online and logged into CC, you can access Adobe Fonts from inside the app or online. If you find a font you like, you can simply click the slider to activate either individual fonts or entire families. These will become available in all Adobe apps. When opening a project with fonts that you don’t own, you will be given the option of Resolving Fonts, which syncs any matching fonts from Adobe Fonts. All fonts are included with any CC subscription and there are no limits on how many you can use at once. OTF vs TTF Of all the extensions that indicate a font file, the two most common are TTF (TrueType Font) and OTF (OpenType Font). TTF is an older format that uses glyph tables to define its characters’ appearance, while OTF uses glyphs alongside Compact Font Format tables, giving it the potential for smaller file sizes. Although OTF fonts are becoming more popular, TTF still remains a viable alternative which is easier to create than OTF. Read more: The 13 best alternatives to Photoshop How to Photoshop someone into a picture How to flip a layer in Photoshop View the full article

There are various types of USB cable. In the last few years, the tech world has been awash with new types. But at the same time, old stalwarts like USB-A and Micro-USB are still sticking around, muddying the waters with myriad different forms and standards. If you’re thinking of getting a new drawing tablet or laptop for graphic design, this can make things confusing. What types of USB cable will you need with your new device? And what are all the different cables capable of and compatible with? It’s a perplexing state of affairs. For example, the shape of a USB cable’s plug doesn’t necessarily indicate its speed. USB-A cables are compatible with speeds ranging from a mere 12 Mbit/sec all the way up to 10 Gbit/sec, but not every USB-A cable can go that fast. You need to know what to look out for to make sure you get the proper cable for your kit – just follow this guide and we’ll have you sorted. Types of USB cable: USB-A You can recognise USB A cables that hit USB 3.2 speeds by the blue wedge and 'SS' marking, standing for 'SuperSpeed' The USB-A cable is probably the most common type of USB cable around right now. Most laptops and PCs have at least one USB-A port, and you’re likely to find them on other smart home devices. This type of cable has a rectangular connector with a gap on one side and a plastic wedge occupying the other half. This means you can only fit it into a device one way up, otherwise the wedge gets in the way – this is one issue that USB-C cables are able to sidestep (more on them later). As for transfer speeds, USB-A can hit a maximum of 10 Gbit/sec, providing it’s paired with a USB 3.2 2x1 connector on your device. It also works with USB 3.2 Gen 1x1 (5 Gbit/sec), USB 2.0 (480 Mbit/sec), and the much older USB 1.0 (12 Mbit/sec). However, you also need the right type of USB-A cable to reach those speeds. A USB 2.0 cable will fit into a USB 3.2 2x1 port, but you’ll only get USB 2.0 speeds, for instance. You can identify what type of cable you have by the colour of its plastic wedge: white or black is USB 2.0, while blue is USB 3.2. Wondering what happened to USB 3.1 and USB 3.0 before it? USB 3.2 1x1 is the same as USB 3.1 Gen 1, which is the same as USB 3.0. Meanwhile, USB 3.2 Gen 2x1 is the same as USB 3.1 Gen 2. It’s all incredibly confusing, which is why the simplicity of USB-C is such a big deal. Mini-USB vs Micro-USB The plugs on Micro-USB cables (left) are about half the thickness of Mini-USB ports (right) There are quite a few similarities between Mini-USB and Micro-USB cables, so it’s important to know how to tell them apart. Both have much smaller plugs than you’ll find on USB-A cables, which has enabled these ports to find their way into small, portable devices like smartphones, where an USB-A port would be too large. Mini-USB cables were introduced in 2001 with the advent of USB 2.0. Their connectors typically look like a small rectangle stacked underneath a wider, flared rectangle. Micro-USB cables came along in 2007 and feature much thinner plugs – they’re roughly half the thickness of a Mini-USB plug. But the differences aren’t just limited to physical dimensions. Micro-USB cables are much more durable, rated for at least 10,000 connect-disconnect cycles, which is double that of Mini-USB cables. However, one area both cable types have in common is that most Mini-USB and Micro-USB cables are limited to USB 2.0 speeds. To address this discrepancy, a 10 Gbit/sec version of the Micro-USB cable was created, but its plug had to be made significantly wider, which somewhat defeats the purpose of having a small cable. Mini-USB never got this upgrade, meaning it’s still stuck on maximum speeds of 480 Mbit/sec. Types of USB cable: USB-C USB-C cables’ oval-shaped plugs mean they can be inserted into your devices either way up Let’s face it, the old situation, with its chaotic jumble of USB-A, Mini-USB and Micro-USB, was a real mess. To make things worse, all three cable types had Type-A and Type-B versions, each with slightly different shapes. Mini-USB and Micro-USB even had a hybrid Type-AB as well, just to really put people in a spin. Luckily, that’s all a thing of the past thanks to USB-C. USB-C is a much more recent cable type than USB-A, and is really starting to proliferate among devices. One of its main advantages is that its oval shape can be inserted into your devices either way up, and it’s also much smaller than USB-A connectors. It’s an all-in-one cable that’s meant to replace legacy connectors both large and small. It’s an all-encompassing standard in other ways, too. For one thing, it can transfer your files, charge your devices (providing up to 100W of power) and handle video signals all at once. There’s no longer any need to mess up your desk with charging wires, HDMI leads and USB-A cables, as a single USB-C cable can handle it all. Speaking of data transfer, USB-C cables can send information much more quickly than their USB-A counterparts. While USB 3.2 2x1 tops out at 10 Gbit/sec, USB-C cables can reach 40 Gbit/s. That’s because USB-C cables are compatible with Thunderbolt 3, which is a super-speedy connection protocol that’s becoming more popular on computers, phones and tablets. Even if your USB-C device isn’t Thunderbolt 3 compatible, a USB-C cable can still beat out USB-A cable transfer speeds. USB 3.2 2x2 is a USB-C exclusive and can hit 20 Gbit/sec, for example. USB-C cables can also transfer at speeds of 5 and 10 Gbit/sec. Given their excellent flexibility, hassle-free use and lightning-fast speeds, USB-C cables can make your life a lot easier. They’re gaining a lot of traction, so don’t be surprised to see more and more devices support them in the coming years. Read more: The best power bank right now The best computer for video editing The best mouse right now View the full article

Nearly two months after its release, the much-maligned Cats movie is proving to be the gift that keeps on giving for lovers of high drama, if not for lovers of cinema. The latest feline kerfuffle surrounds Sunday night's Oscars ceremony, in which James Corden and Rebel Wilson, both of whom featured in the film, dressed up in cat costumes and poked fun at the film while presenting the award for best visual effects, saying that as cast members, "nobody more than us understands the importance of good visual effects". Me-ow. 8 appalling CGI fails in modern movies And while there's plenty that's wrong about the visual effects and character design in Cats – let's not forget that the studio had to issue a new version a few days after release that fixed a number of VFX issues, including Judi Dench's human hands – not everyone was laughing along with Corden and Wilson. See the skit here and see what you think. Especially unamused was the Visual Effects Society, which took particular exception to Cats' VFX being singled out for ridicule, and released a statement to that effect. "Last night, in presenting the Academy Award for Outstanding Visual Effects, the producers chose to make visual effects the punchline, and suggested that bad VFX were to blame for the poor performance of the movie CATS," it says, before getting in its own swipe: "The best visual effects in the world will not compensate for a story told badly." We're going to need a bigger saucer of milk. It's easy to see where the Visual Effects Society is coming from. Pointing the finger at VFX artists isn't really on when the team would have been following the instructions of the film's production designer and art directors, not to mention the director himself, Tom Hooper. And while there were clearly mistakes made in the initial execution, the real problems with Cats' horrific uncanny valley looks are more to do with a flawed visual concept; the VFX artists were just following orders. That said, the idea that Cats is a bad film because of "a story told badly" doesn't do it for us, either. Anyone who's seen Cats – either at the cinema or on stage – knows perfectly well that it barely has a story. It's about the spectacle and the songs; the story, such as it is, boils down to a bunch of cats introducing themselves before one of them gets arbitrarily chosen to go to cat heaven. No one cares. It's best summed up by this brilliant segment from an episode of Netflix's Unbreakable Kimmy Schmidt, which aired last year: Cats has always been a load of old nonsense, and one thing you can definitely say about the film is that it succeeds in that regard. What it completely lacks, however, is the stage version's charm, and while the ill-advised CG effects play a big part in that, it's unfair to blame the Cats disaster on the VFX artists. You can read the full statement from the Visual Effects Society here. Related articles: Special effects in movies: 10 stunning examples 5 essential VFX tools How to draw a cat View the full article

The poster for Wes Anderson's The French Dispatch has dropped, and it's truly a thing of beauty. In a sea of lacklustre, design-by-committee movie posters, this masterpiece by illustrator Javi Aznarez is a very welcome breath of fresh air. The movie (full title: The French Dispatch Of The Liberty, Kansas Evening Sun) marks Anderson's return to live action, following 2018's Isle of Dogs. The story is focused on American journalists working in a French town – hence the magazine-cover stylings seen in the poster. Anderson is known for his highly distinctive aesthetic, showcased through back-catalogue movies such as The Grand Budapest Hotel and Moonrise Kingdom. It's meticulous, often symmetrical, and highly detailed. Combine that with a subject matter that lends itself to design magic, and it's no real surprise this poster is such a winner. For more inspiration, explore our guide to graphic design in film, or our roundup of amazing poster designs. Click on the poster to enlarge it A struggle we see – sometimes quite visibly – in movies with lots of big-name stars, is how to show off all the actors within the poster design. Often we end up with an awkward collage of faces with no clear focal point and no real concept to speak of (this 2017 article asking are movies in a design crisis? sums it up nicely). The poster for The French Dispatch, manages it effortlessly, however. The frankly ridiculous lineup of superstar actors includes Tilda Swinton, Bill Murray, Frances McDormand, Owen Wilson, Adrien Brody, Léa Seydoux, Timothée Chalamet and Benicio Del Toro. Aznarez gives all these stars, and more, their own dedicated space to shine, along with tantalising details hinting at their character. Owen Wilson wears a beret, Timothée Chalamet takes a bath, Léa Seydoux does something involving a gun. What can it all mean?! What can we glean about the story from these details? There's plenty to unpick here. The trailer is due to drop today, and The French Dispatch will arrive in UK cinemas on 24 July. Read more: Is this the defining movie poster trend of the decade? Check out these incredible posters for movies that never happened A designer's guide to printing a poster View the full article

The International Paralympics Committee (IPC), which organises the Paralympic Games, previously had a pretty messy identity, which many would struggle to recall. That looks set to change as North has overhauled the brand, helping it become more cohesive, energetic and more able to cope with the demands of the digital age. And just in time for Tokyo 2020, too. First up, the Paralympics logo, the Agitos, has been refreshed. The changes are subtle, but important (and sometimes that's all it takes, as our logo design guide notes). The previous shape was being used in a variety of ways (it was apparently, sometimes even used backwards). North has redrawn the three lines to make them more symmetrical, and also tweaked the colours, so they're now in line with the blue, red and green of the Olympic rings. These small changes have a big impact: the whole thing looks a lot more purposeful. Small change, big difference Based on this revised symbol, North has also created a visual system that doesn't always rely on photography. A new typeface, named New Hero, helps the energetic feel come to life across a range of brand assets. The new system works with a variety of assets The new identity was announced in October 2019 and is slowly being rolled out over the next year. It applies to everything from style guidelines to the IPC's video channels. North has produced some sample brand assets to show how the new identity could be used And with all eyes on Tokyo this summer, and this striking new look for the Paralympics, it looks like this year's games will be more memorable than ever. To get you in the mood, why not check out these Olympic posters? Or if you're feeling a little more catty towards Olympic branding, then see how the Paris 2024 logo was mercilessly mocked. Read more: Is this Paris 2024 Olympic logo better than the original? Designers react to the Tokyo Olympics logo KFC's Valentine's Day card range is unexpected genius View the full article

Tech fans from all over the globe gathered last night for Samsung's first smartphone event of 2020, Unpacked. And the South Korean company didn't keep audiences waiting, kicking things off with the Galaxy Z Flip, a brand new foldable smartphone, swiftly followed by the hotly anticipated Galaxy S20. Based on what we saw at Unpacked, we've no doubt the Galaxy S20 will soon hold a very prominent position in our round up of the best camera phones, which we'll have more on soon. But for now, the focus of this article is very much on the Galaxy Z Flip... First things first, it looks good. Seriously, when it comes to gadgets, this pocket-sized device's appearance is super-cool. While a smartphone clearly created in the 21st century, the Z Flip's unmistakable nod back to some the best flip phones of the early 2000s gives it a wonderfully nostalgic charm. We weren't surprised to see the Z Flip's price tag placed significantly higher ($1,380/approx £1,300) than many other smartphones currently on the market. It's unique form factor is no doubt the driving force behind that decision. However, for such a high cost, the Z Flip needs to balance its style with a shedload of substance. And, on closer inspection, the latter is, initially, not something we're completely sold on. Samsung's marketing director Rebecca Hirst introduced the device, saying: "With this phone, we have done the impossible, creating ultra-thin glass that folds." There's no question that overcoming such a huge design challenge is impressive. However Nilay Patel on Twitter was quick to point out the small print on the Z Flip's launch video, highlighting a maybe less than desirable result of the folding glass. Blink and you'll miss it in the tweet below, but just five seconds into the video, text appears stating users may notice a small crease at the centre of the main screen. Now, this might just be us, but if we're shelling out well over a thousand dollars for a new phone, a crease anywhere on the screen, least of all the middle, is really not ideal. We obviously yet to see if this is actually the case, and if so, what impact it really has on the display, but it's a concern also shared by others... During the Z Flip's unveiling, Hirst was also very keen to showcase the phone's outward-facing screen, which is visible when closed, and outward-facing camera, perfect for selfies. While we didn't see it up close, Hirst's demonstration made us wonder how a screen so small could be used to display anything that could actually be seen without holding it very close to your face. Having said all that, we do really like the Z Flip's Flex Mode, which gives it an almost miniature laptop feel. In Flex Mode, the phone is half open, and can sit unaided with the screen effectively split in two. A novel feature for the user, but something app developers may need to consider if this device really takes off. Flex Mode also removes the need for a tripod, which could be a big plus for content creators (dependant on camera quality, of course). Without actually getting our hands on the Galazy Z Flip, it's hard to say if its performance and functionality measures up to it's unique design. One thing's for sure, it certainly has the 'wow' factor, for now at least. The Galaxy Z Flip will be released in the US and UK on Friday 14 February 2020. For full specs and purchasing information, visit the Samsung website. After a different Galaxy device? Here are the top models, at the very best prices, in your area: View the full article

Tech fans from all over the globe gathered tonight for Samsung's first smartphone event of 2020, Unpacked. And the South Korean company didn't keep audiences waiting, kicking things off with the Galaxy Z Flip, a brand new foldable smartphone, swiftly followed by the hotly anticipated Galaxy S20. Based on what we saw tonight, we've no doubt the Galaxy S20 will soon hold a very prominent position in our round up of the best camera phones, which we'll have more on soon. But for now, the focus of this article is very much on the Galaxy Z Flip... First things first, it looks good. Seriously, when it comes to gadgets, this pocket-sized device's appearance is super-cool. While a smartphone clearly created in the 21st century, the Z Flip's unmistakable nod back to some the best flip phones of the early 2000s gives it a wonderfully nostalgic charm. We weren't surprised to see the Z Flip's price tag placed significantly higher ($1,380/approx £1,300) than many other smartphones currently on the market. It's unique form factor is no doubt the driving force behind that decision. However, for such a high cost, the Z Flip needs to balance its style with a shedload of substance. And, on closer inspection, the latter is, initially, not something we're completely sold on. Samsung's marketing director Rebecca Hirst introduced the device, saying: "With this phone, we have done the impossible, creating ultra-thin glass that folds." There's no question that overcoming such a huge design challenge is impressive. However Nilay Patel on Twitter was quick to point out the small print on the Z Flip's launch video, highlighting a maybe less than desirable result of the folding glass. Blink and you'll miss it in the tweet below, but just five seconds into the video, text appears stating users may notice a small crease at the centre of the main screen. Now, this might just be us, but if we're shelling out well over a thousand dollars for a new phone, a crease anywhere on the screen, least of all the middle, is really not ideal. We obviously yet to see if this is actually the case, and if so, what impact it really has on the display, but it's a concern also shared by others... During the Z Flip's unveiling, Hirst was also very keen to showcase the phone's outward-facing screen, which is visible when closed, and outward-facing camera, perfect for selfies. While we didn't see it up close, Hirst's demonstration made us wonder how a screen so small could be used to display anything that could actually be seen without holding it very close to your face. Having said all that, we do really like the Z Flip's Flex Mode, which gives it an almost miniature laptop feel. In Flex Mode, the phone is half open, and can sit unaided with the screen effectively split in two. A novel feature for the user, but something app developers may need to consider if this device really takes off. Flex Mode also removes the need for a tripod, which could be a big plus for content creators (dependant on camera quality, of course). Without actually getting our hands on the Galazy Z Flip, it's hard to say if its performance and functionality measures up to it's unique design. One thing's for sure, it certainly has the 'wow' factor, for now at least. The Galaxy Z Flip will be released in the US and UK on Friday 14 February 2020. For full specs and purchasing information, visit the Samsung website. After a different Galaxy device? Here are the top models, at the very best prices, in your area: View the full article

There are 12 critical and five previously disclosed bugs in the February 2020 Patch Tuesday Update. View the full article

The high-severity vulnerability could enable denial of service, privilege escalation and information disclosure. View the full article

Overall, Adobe patched flaws tied to 42 CVEs as part of its regularly scheduled updates. View the full article

Portfolios come in all shapes and sizes. There’s no one-size-fits all answer to creating the best presentation of your work. Individual personality and creativity are part of what you want to show, and the arrangement of your work will also depend on what type of client you are trying to reach. But there are some things that help showcase your work and get you hired, and others that don’t. It could be because they distract, complicate or put prospective clients off looking any further. It could be because they leave the viewer with so many questions that they decide to look elsewhere. From too much work to a lack of interactivity, here are seven things people usually won’t want to see in your portfolio. There are of times when breaking the rules can work and there are outstanding portfolios out there that include these elements, but generally these are things to avoid. For inspirational portfolio examples, see our top design portfolios. 01. Everything you’ve ever designed UX designer Marco Marino's portfolio focuses on a few choice projects It can be hard to resist the temptation to include everything you've ever worked on, from school projects right up to your latest work. It's understandable that designers want to show just how much experience they have, but fight the urge. No potential clients is going to look at it all. What's more, including too much work means they might select and look at the pieces that aren’t your best work, making it counterproductive. It can also leave your website bloated and sluggish. Going to the other extreme and including too little is also a mistake. Try to include enough variety for the client to be able to form an impression, without it being too much to take in. UI designer Marco Marino’s portfolio features just four standout projects designed for quite different clients. They're well presented with image reveals that appear when you move the cursor over each project, and you can click through to detailed case studies. The work is presented in a clear way that makes a great impression and shows how as few as four projects can be enough to show what a designer can do if they contain variety. 02. Your life story Digital designer Tom Parkes says who he is in a concise way Most clients won’t be interested in knowing about where you went to primary school, how many cities you've lived in or where you go on holiday. Too much information can come across as rambling and unprofessional. Overly boastful or brash personal presentations and claims of being the best designer in the world or a vector warlord can also fall flat. But clients do want to know who you are. A minimalist profile can work great for navigability and showcasing your work, but it needs to have some personality, both in the design and the copy. While you want your work to do most of the talking, you also want to avoid an anonymous corporate image. It’s best to aim for a simple, genuine and concise personal introduction that gives readers enough insight into your personality and career that they can decide whether you’re someone they'd like to work with without having to wade through a lot of irrelevant details. Digital designer and illustrator Tom Parkes strikes a good balance on his portfolio. He says clearly who he is and what he does before you scroll down to clearly presented examples of his work. 03. An overly complex or distracting layout Digital designer Michael Schmid shows that a simple presentation can be creative and eye-catching An elaborate and unusual layout can showoff creativity or coding skills, but it can also be bewildering and frustrating for potential clients with little time on their hands and no patience to work out how your portfolio is organised. Unless a client has already seen something of your work or knows you from a recommendation, they won't want to have to work too hard to find the information they need. Often simpler is better, with the most important details easy to find. Certainly don't make a potential client have to search for your email address or social links. Germany-based digital designer and developer Michael Schmid’s simple but eye-catching one-page portfolio site says who he is and provides a link to where he works along with email and social links. He uses a micro glitch effect as a creative way to make it clear which text elements are clickable, adding originality without complicating usability. 04. Finished pieces with no context Product designer Daniel Polevoy shows his working Many portfolios aim to wow clients by showing perfect finished work. The problem with this is that no two projects are the same, and the chances are that what a client wants does not fall within the exact style of the work you've done before. By showing only finished pieces, you give a client little idea of how you work, what your thought processes are, and how you make decisions. Sometimes it can come across as a random presentation of attractive designs based on your own tastes. A client looking for a designer rather an artist is more likely to want to see the context behind your work to know what the problem was and how you solved it. As in the old adage from school mathematics classes, you need to show your working out. Product designer Daniel Polevoy includes sketches and detailed background context in his portfolio. The above image is a hand-drawn sketch made for a personal project to redesign Go Pro app content for iOS before he moved on to making mockups. Try to avoid technical jargon where possible so that the work can be understood by the average client, and talk them through how you arrived at the finished design. 05. Only one type of work Brook Perryman presents a clearly categorised range of work Unless you specialise in a particular niche or are someone to whom clients come looking for a very specific style, you will probably have clients looking for different types of products and different visual styles. Showing examples of only one type of product or style of work risks turning them away. Potential clients may form the impression that you have a personal style that you impose on all projects and that you don't have the versatility they need to develop something different. Aim to present a range of work of different types and for varied clients. This will show that you can work to diverse briefs. It can be a good idea to classify work into categories to make it easy for a client to find what they're interested in hiring you for. In the case of US graphic designer Brook Perryman, she uses clearly presented categories such as catalogues, book covers and packaging to be able to show an extensive range of work that may otherwise have been too much to take in. 06. Unresponsive content It's a given that anyone working in digital design needs to make sure their own portfolio site performs well and looks the business on any device. But even designers working exclusively in print need to consider responsiveness. In any sector, clients are as likely to be looking at your work on a mobile phone as on a desktop. There's no worse first impression than that caused by a sluggish site that fails to adjust to mobile or tablets. You can put your site through Google's Mobile-Friendly Test, and if you right click and select "inspect" in Chrome, you can see how your site looks on different devices. Texan Web design shop Paravel's portfolio adapts to different devices, showing the names of the clients behind each of project on larger screens and only the logos on smaller screens. Making your portfolio site a progressive web app (PWA) is also a sharp way to gain lightning-fast app-like presentation that impresses clients. Simon Renault's portfolio feels smooth, sleek and offers impressive presentation on both desktop and mobile. 07. A static presentation Graphic designer Eugene So uses video to show transitions in an app As the online world becomes more immersive, people are coming to expect more interactivity and moving elements on a site. Amid so much competition to get noticed, movement draws attention and can make a passing visitor stick around. Designers are adding movement to their portfolios in the form of minimal micro interactions, screen transition effects, and visual accents such as background colour changes that can make static designs more engaging. If you work in digital design and UI, movement is crucial. Nobody wants to have to click through numerous screenshots to see and understand the user flow that you designed. Instead use video or GIFs to show animated flows. Rather than present a walk-through of an entire interface, consider using captioned videos of a particular series of transitions to demonstrate how you solved a specific problem or enabled a particular behaviour. This allows you to show a level of design thinking and attention to detail that is difficult to achieve with static images. On the other hand, too much movement can be difficult to take in. Viewers’ eyes will naturally drift to the largest, most dynamic action and possibly miss details that you put a lot of thought into. Eugene So uses multiple screens alongside each other to present app projects but cuts down on the visual noise by having only one of the screens move. One needs to be hovered over to come into life, and the final screen is still. This allows viewers to take in the presentation bit by bit and not feel overwhelmed. Read more: Tweak your portfolio for 2020 6 of the best new portfolio sites 7 free portfolio hosting options for designers View the full article

If you were alive and on the internet back in the late 1990s, it was hard to escape the Dancing Baby. An unsettling 3D animation of a baby getting its groove on, it was one of the earliest examples of an internet meme, and it exploded into the public consciousness (back when being online was still a minority thing) when it was featured in one of the biggest TV shows at the time, Ally McBeal. Nobody's been asking for it, but now this early piece of online 3D art is back, thanks to a games programming student at the University of Bolton. Jack Armstrong has found the original source of the dancing baby and re-rendered it in HD so that we can all once more enjoy its unnatural undulations. 10 top 3ds Max tutorials The original dancing baby animation came with an animation package used with an early version of 3ds Max, and in a time before YouTube it was shared all over the place, first as a video file and later in GIF form. And at a time when we were being bombarded with a lot less online stuff than we are now, it took a lot longer than you might expect to wear out its welcome. The lifespan of a modern meme can be measured in days; the dancing baby was around for a good couple of years, guaranteed to turn up in your inbox on a semi-regular basis. And while many would be perfectly happy to never see it again, that hasn't stopped Armstrong from giving it a new lease of life. In a fascinating Twitter thread he explains how a friend asked him to convert the dancing baby to popular online sandbox game, Garry's Mod, and how that led him on a search through Wikipedia entries, archived web pages and dodgy old abandonware sites to find the original files. The original in all its questionable glory Having finally tracked down the 24-year-old 3D model and turned it into a player model for Garry's Mod, Armstrong decided to recreate the original dancing baby video using 3ds Max. Not only was he able to render it in HD, he was also able to interpolate the original file's keyframes so that it it animates at a super-smooth 60fps; the final icing on the cake was the addition of the tune that accompanied the dancing baby on Ally McBeal: Blue Swede's cover of Hooked on a Feeling. "I hope by re-rendering such a classic meme in HD and putting the model to new use," says Armstrong, "I have advanced the preservation efforts of the internet." We suspect he might not be entirely serious, but nevertheless: we salute his sterling work. And before you ask, yes, of course someone's already suggested the thing that you're all thinking about right now: Related articles: How to make an animated video: Expert advice Animated music videos: 28 awesome examples The best Baby Yoda memes, ranked View the full article

Corel Painter 2020 offers a raft of new and updated painting features, as well as interface improvements. Headline updates include a performance optimisation options, a refined Brush Selector tool, and new colour selection tools. Corel’s flagship painting software is now in its 29th year, and its one-off price tag (£359.99, or £180 to upgrade a previous version) will appeal to artists who want to avoid going down the subscription software route. But does how does this software stack up in our ranking of the best digital art software? In this Corel Painter 2020 review, we take a closer look at the updates, and whether they make this tool a worthwhile investment. Buy Corel Painter 2020 Corel Painter 2020: Performance optimisation Corel Painter 2020 aims to get the most from your hardware with the new Brush Accelerator tool. This assesses your system and then applies optimal performance settings. Stamp brushes benefit from GPU acceleration, and you can choose which brushes receive a hardware boost. You can quickly identify all the installed brushes that will benefit from GPU acceleration Corel states you can “paint up to 20 times faster” with its Brush Accelerator, and we certainly noticed a reduction in lag when painting with traditional media brushes. You can also use the tool to adjust CPU performance to improve the overall software experience, and gain insights on how best to upgrade your system. Corel Painter 2020: Interface updates The previous version of Painter had a cluttered workspace that often interrupted your creative flow. Painter 2020 now only displays the configuration options that are relevant to your chosen tool, which results in a more streamlined interface. Clever grouping of settings within pop-out Consolidated Library panels, together with tool icons that change appearance depending on your setting choices, create the impression that Corel’s developers have acted on feedback from artists. Painter 2020’s slimmed-down Brush Selector displays sub-categories of brushes, where you can view Dab and Stroke previews at a glance. Previously, you’d have to hover your cursor over a brush to display its Dab shape. The Brush Selector is highly configurable, enabling you to display more or less information in the software’s interface. As you become more used to the software we imagine you’d be able to pare back the interface significantly. Corel Painter 2020: Painting improvements How you choose colour in the software has also been given an overhaul. The highly customisable Universal Color Wheel has a standard look across all tools. There’s now a preview feature, while the slider controls are coloured. You can also pick your colours using hue, saturation and value, choose to pin or unpin the wheel, and even set the wheel in left-handed mode. The latest version of Painter adjusts the choice of harmonious colours as you paint The new Color Harmonies tool displays colours that are harmonious to your current choice, across six modes including analogous and complementary. This feature will benefit both aspiring and pro artists in helping them to achieve the best colour choices in their artworks. Layers are a staple of digital art, and in Painter 2020 it’s a case of evolution rather than revolution. Right-clicking or cmd-clicking a layer displays a pop-out contextual menu with a range of options, which is preferable to having to access them through the main Layers menu. The options to collapse, lock, select and paste layers are all time-savers that will further streamline your creative process. This Corel Painter 2020 review was originally published in ImagineFX magazine. Subscribe here, or check out the rest of our ImagineFX articles on Creative Bloq. View the full article

The uncontrolled search path vulnerability allows a local user to use DLLs to escalate privileges and affects Windows PCs. View the full article

When you think romance, you think fried chicken, right? KFC is hoping so, as it's teamed up with Moonpig to produce a range of Valentine's Day cards, including a scratch-and-sniff limited edition card. It says, 'You're Finger Lickin' Good' on it, and when you scratch the chicken nugget, you get a waft of fried chicken. Saucy. There are eight designs available, all featuring some rather suggestive chicken-based phrases. There's 'Fancy a Peck?', where you can super-impose your loved one's face for extra effect, there's 'Life with you is all gravy', 'You're a snack, wanna cluck?' and there's even a nod to the vegans, with 'will you be my vegantine this year?' It's almost like some of KFC's best print ads have been transformed into card form. Almost. (If you need a present to offset your chicken-y card, see our Valentine's Day gifts.) Who said romance was dead? To be honest, you could do worse on Valentine's Day. These cards are at least bound to get a laugh. The Moonpig page is also delightfully full of chicken innuendo (apparently that is now a thing). For example, it says: "Whether your partner is all about the breasts or prefers a mouth-watering set of hot wings, we know there's nothing more romantic on Valentine's Day than spending time together with a bucket of chicken." So if fried chicken gets you or your partner in the mood, then these may just be the cards for you. The smelly card costs £3.49 and the other ones are £3.29 each. You can even buy a pack of four, just in case you have four chicken-loving lovers to impress. Plus, you get to be smug that 10 per cent of the proceeds will be donated to the KFC Foundation, which helps young people. KFC is known for its fun and inventive branding. There was that bucket-hat, and that glorious apology on its chicken bucket. The brand also got in trouble earlier in the year for its use of the word 'cluck', which some complained was being substituted for a swear word. We can only imagine the phrases the team thought up that didn't make it on to the cards. Read more: Can you spot the hidden trick in the new Multiply logo? New Marvel Eternals logo leaked The best travel mugs right now View the full article

Recently, we heard news that Apple had filed a patent for a very different kind of iMac. The patent details a slick, mostly glass, all-in-one (AIO) design with a distinctly futuristic vibe. Until now, we've only had some fairly uninspiring line drawings to give us an idea of how this radically different design might look – but Concept Creator on YouTube has come to the rescue with a 3D rendering based on the patent details. If this video is anything to go by, the potential new design is going to look incredible. There are some aesthetic similarities to the current iMac (incidentally, our pick of the best computer for graphic design, and the best computer for video editing right now). The curvy junction between the screen and its stand and the generally minimalist, sleek approach are both present, but other than that it's an entirely new ball game. Take a look at the mockup below. As a reminder, here's what the current iMac looks like. This brushed aluminium look has been around for a while now Below, you can take a closer look at the diagrams of the potential new design included in the newly published patent. The distinct screen, housing and separate keyboard encased in brushed aluminium have been replaced by an AIO made mostly of glass. The accompanying text details "a glass housing member that includes an upper portion defining a display area, a lower portion defining an input area... a continuous, curved surface between the upper portion and lower portion." A new patent shows a mostly glass all-in-one design The patent also includes a support structure on the rear, which TechRadar suggests could contain the machine's computing power, with the glass section being fitted solely with sensors for the inputs, display and camera. See the full patent here. Apple has gained plenty of news inches for its design decisions over the years – even something relatively minor, such as the replacement of Forest Green for Navy Blue in the iPhone 12 lineup – has people talking. So we're doubly excited at the prospect of something potentially radical to follow in the footsteps of the Mac Pro 'dustbin' and 'cheese grater' designs, for example. When, or even if, this spacey new look will become reality is quite another thing. At the moment, it's still in its research phase, so it's certainly not on the cards any time soon. Although it's worth noting that while the patent was published on 23 January 2020, it was filed last May, which means Apple has been exploring this direction for a little while now. Read more: The best Apple Watch apps in 2020 Apple Pencil vs Apple Pencil 2: which should you buy? The best cheap Apple laptop deals View the full article

Conversational UI and chatbots are becoming more popular in mobile apps. Understandably so; they provide an exciting and new type of experience for users. When done well, conversational UI and chatbots can provide a more intuitive and helpful experience but …View the full article

The RobbinHood ransomware is using a deprecated Gigabyte driver as the tip of the spear for taking out antivirus products. View the full article