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Adobe XD can help with prototyping – one of the most important processes in the design life cycle, which plays a vital role in development by helping designers and dev teams with workflow maintenance. There have been some major changes in the prototyping landscape recently: designers are spoilt for choice. Just like many other disciplines, there is no single design and prototyping tool that can achieve everything. Different stages require a unique set of tools. Gone are the days when designers used to rely solely on Photoshop and Sketch. Though they are great UI design tools, they do not have the capabilities for quick user flows and wireframes (see our top wireframe tools for more wireframing options). Now with the growing amount of interactions in designs – such as animations, gestures and voice control – it’s tough to find a tool that can achieve all these prototyping capabilities and still keep things simple. Coding is one way of creating these interactions but it’s time-consuming. Fortunately, Adobe XD has come to the rescue by releasing an update to its prototyping tool that includes a handy feature called ‘Auto Animate’. It is by far the biggest addition to the powerful toolset. Get Adobe Creative Cloud The idea here is simple: Auto Animate enables designers to build interactive prototypes with immersive animations by simply duplicating an artboard or modifying the properties of an object. These properties could be anything, such as the dimensions, position of X and Y, opacity, rotation. Previously Adobe XD offered basic interactions such as sliding, push and dissolve. With the addition of the new features, designers can easily create motion-based animations, which in turn will help the user to create mental models of information flow when they are navigating between multiple screens. This can also be used to create visual hierarchies, CTAs or messages that fade in or out of the screen temporarily. In this article, I will be explaining how to create simple micro animations using this new Auto Animate feature of Adobe XD. Before we begin, there are a few things to consider about how objects must be handled for auto animation: When an object or element is not on the destination artboard, it usually fades out when previewed When an element is not present in the initial artboard, it tends to fade in Always wire the artboards when you are in prototype mode, which will create the interactions For creating animations, always make sure objects and elements have matching names in the layers and also the name of the group they may be in Make a state change using Auto Animate It may sound simple, but you'll need to start with two shapes Let’s start by making a simple example of state change using Auto Animate. In this example, the properties that would change are width, height and colour. For any Auto Animate transitions, you need more than two artboards. On the initial artboard, draw a shape – in our example, it’s a green rectangle of 500px X 200px. Duplicate this artboard and select the rectangle on the second artboard. We need to modify the properties of the rectangle by increasing the width to 1000 and the height to 500. You can also perform further modifications such as changing the opacity to 50% or making the colour pink. Now click on the Prototype tab on the upper-left corner. Select the first artboard and link it using the arrow to the second artboard. When you do this, there is an Interaction tab on the right of the app that can be used to set parameters such as Trigger, Action, Destination and Easing. Each parameter can be customised according to your needs. There are five types of trigger – including Tap, Drag and Timed – that will initiate the animation. Set the Action tab default to Auto Animate and because there are just two artboards in our example, set the Destination tab to Artboard 2. There are also multiple smooth transitions that can be chosen and timed. Click on the play icon on the top right to see Auto Animate do its magic and animate the rectangle. When there are more than two elements that need to be changed simultaneously, make sure the names of these elements are the same in both the artboards. This will inform the application that these two elements need to be animated. Expand cards Expanding cards is another easy interaction to create Now let’s progress to an example with more interactivity and one that includes multiple elements. Let’s start by creating the first artboard for this, consisting of a card. The card will have elements such as a header, description and a link at the bottom reading View History. Next to the link, there will be an arrow icon facing downwards. When the user clicks on the link, the card will open up like a drawer to show previous entries. Since this happens on the click/tap function, the previous entries should not be created in the first artboard. Next, we duplicate this artboard and change a few properties of the card. The first thing to do is increase the height of the rectangular card to make it look like an expanded state. The header and the description below should be unchanged. Now it’s time to add those entries we mentioned before. Imagine there are three entries for the card. Each entry has an entry name, entry date and a button as shown in the main image. You can create one entry and duplicate it twice to create a group of entries. Arrange them as shown in the main image and place the View History text link below these entries. Because it is in an expanded state, rotate the arrow icon so that it is facing upwards. That’s it. You have completed setting up the artboards. To create the animation, go to the first artboard and click on the Prototype tab from the top-left corner. Now click the View History link on the first artboard and drag the prototype link to the second artboard. This makes the View History link the trigger. Change the properties in the Interaction tab on the right by setting the Trigger to Tap and Action to Auto Animate. Test it to see the smooth drawer animation. Make changes to the Easing option in the Interaction tab if you find the animation is not smooth enough. Make drag animations A simple example of a drag animation, where a sphere is made to look at though it is compressing a block of text Drag is one of the most common animations when it comes to mobile interactions. Let’s try a simple example with two artboards. For the first artboard, start by creating a circle of any colour and dimensions. Now create a rectangle with a width of 250px and a height of 25px. Duplicate this rectangle eight times, maintaining a space of 20px between each duplicate, so that it creates a stack. Place the circle on top of the first rectangle before duplicating this artboard. There is not much left to do for the second artboard. Simply reduce the gap between each of the duplicated rectangles so it feels like it is compressed. Similar to the first artboard, place the circle on top of the first rectangle. The final step is to prototype it by clicking on the Prototype tab from the top-left corner. Now click on the circle from the first artboard and make it a trigger. Just like the previous examples, change the properties in the Interaction tab on the right by setting the Trigger to Drag and Action to Auto Animate. When you click on the play button to preview the animation, you’ll be able to see a smooth action as if the block is being compressed by the sphere. Create infinite loader animations Auto Animate can be set to work on multiple artboards – perfect for creating an infinite loader animation One of the best features of Adobe XD is that Auto Animate can be applied between multiple artboards. To do such an animation, you just need to make simple changes to one of the properties. Let’s create a loading animation in which a battery gets filled up. The key to getting this perfect is to craft the first artboard properly. The first artboard has a battery placeholder as shown in the image. It can be created using rectangular shapes. For the actual battery inside the placeholder, the first artboard should be empty (which represents 0%). Duplicate this artboard and create a green rectangle with a 50px height that fits perfectly inside the placeholder. Create similar duplicates so the height of the battery in the third artboard is increased by 50px and so on. Continue until the artboard is completely filled. Now we have to create an infinite loop between these artboards so that it creates a synchronous loading animation. For this, go to the Prototype mode, click on the first artboard and drag the prototype arrow to the second artboard. Change the properties in the Interaction panel, by setting the Trigger to Time and then set the Delay to 0 seconds, which will animate to the second artboard when previewed. Perform the same changes to all the artboards, by linking the second to the third and so on before finally linking the last artboard to the first one. We have successfully linked all the artboards to form an infinite loop. Change the Easing and Duration settings as per your requirement to make the loading smoother. Though there are tons of variations that can be tried using Adobe XD, the current capabilities of the tool are limited and are still being regular updated by the development team. So, when compared to tools like Principle, you might feel as though XD has a restricted toolset. However, Adobe has done an excellent job of making the tool simple to learn and use. Creating complex interactions might take some time and effort but they are totally achievable using XD’s Auto Animate feature. The key is to understand the basics of moving objects, resizing them, adding layers and using triggers. This article originally appeared issue 326 of net, the world's leading magazine for web designers and developers. Buy issue 326 or subscribe here. Read more: 40 brilliant WordPress tutorials 11 amazing JavaScript frameworks Is Neumorphism really 2020's hottest trend? View the full article

Disney fans in the UK, rejoice! Not only is Disney Plus arriving a whole week earlier than expected, right now you can get it cheaper than ever before. The streaming service, which is already going down an absolute storm in the US, is set to launch on 24 March (instead of 31 March as initially expected) in the UK. (Want to know more about the service? Check out our Disney Plus guide.) To celebrate Disney Plus' early arrival, Disney is currently running an incredible offer, knocking a further £10 off the subscription cost. While that might not seem like a huge deal, the original annual cost of £59.99 was already a bargain, so to be able to get this now for less than £50 makes it a deal not to be missed! We're even considering upgrading to one of the best 4K monitors for the occasion. Disney Plus' available shows and films will include much-loved classics from Disney, Pixar, Marvel and National Geographic, and there's also previously unseen content, including the aforementioned The Mandalorian, and the catchily named High School Musical, The Musical, The Series. Just some of the exclusive goodies on offer For what you get for your money, Disney+ offers much better value than Netflix. With this offer, Disney Plus UK will cost around £4 per month. Users will be able to stream 4K content on four devices at once, and there are no hidden extras. They'll also be able to download their favourite shows or films, to watch offline. To compare, Netflix costs £5.99 per month, but you have to pay more (either £8.99 or £11.99) if you want ultra-HD content, or to be able to stream on one more than screen at a time. With Netflix UK having recently won the rights to Studio Ghibli's content, it seems competition between the two streaming giants is really heating up, and that's before Disney+ has even fully launched. Which will you choose? You can sign up now on the Disney Plus website for more updates. Read more: Aaron Blaise reveals why he quit his dream job at Disney Is this Chinese city logo a blatant Disney copy? Understand Disney's 12 principles of animation View the full article

A Dutch researcher claimed Google's very first annual Cloud Platform bug-bounty prize, for a clever container escape exploit. View the full article

Investment bank Goldman Sachs has quietly replaced its logo, doing away with the most recognisable design touch: the GS ligature. As well as splitting the two capital letters, the new mark replaces the soft, round typeface with a much straighter choice. The kerning has also been slightly reduced. According to Axios, the logo refresh was overseen by design agency Dalton Maag after the previous logo was deemed "insufficiently legible at small sizes". The previous typeface was based on Bodini, designed by Italian typographer Giambattista Bodoni in the eighteenth century. Check out our list of the best free fonts for some more typographical inspiration. Old (left) vs new (right) While it's a shame to see the elegant Bodoni-based typeface go, the improvement in legibility is clear – and we're impressed that Dalton Maag has managed to maintain a remarkably similar aesthetic with a completely different typeface. That said, the logo does seem to have lost its flair with the removal of the GS ligature. We can't help but wonder if updating the typeface and keeping the ligature would have been a win-win. The 'blue box' Goldman Sachs logo was designed in 1970 by Lippincott, "to create a unifying and cohesive brand logo to help reflect the firm's shift from an investment bank to a broader financial services firm". (This information is listed as a "fun fact" on Goldman Sachs' website). Along with the new logo, Axios says Dalton Maag has created a custom typeface, Goldman Sans, which will be rolled out later this year. As client-specific typeface names go, we like it – although it doesn't reach the heights of One Night Sans, created by Havas London for the recent Durex rebrand. Read more: The top 10 logos of all time 50 top typography tutorials Where to find logo design inspiration View the full article

Mother's Day 2020 is just around the corner, on Sunday 22 March, but never fear, there's still plenty of time to get your mum the perfect Mother's Day card. Online greetings card providers have grown in popularity in recent years, and so it's easier than ever to buy and send a Mother's Day card (even at the last minute). But with so many to choose from, how do you pick a Mother's Day card that's perfect for your mum? Here we've listed some online card sellers that stock everything from thoughtful and loving designs to more cheeky and funny options. So if you don't have time to get to the shops before Sunday, check out these retailers below. Many offer next-day delivery straight to your mum's door, as well as gift options too if you really want to push the boat out. Speaking of gifts, maybe your mum would appreciate one of the best travel mugs, or a new hydro flask to help satisfy her coffee fix? Or one of the best Lego sets for adults will provide her with some much needed down time? Here's our pick of the best Mother's Day cards online. 01. Etsy The kind of cute we can get onboard with If you're looking for a unique Mother's Day card, Etsy is the place to be. A marketplace filled with talented greetings card designers, Etsy has over 100,000 Mother's Day card designs to choose from. And while that might seem overwhelming, with just a quick scroll, we're certain you'll find something to suit. There's everything from soppy and loving, to hilarious and super-cheeky, so every kind of mum is covered. We particularly love this 'What would I bee without you design?' from DiddlesAndPuds, and no doubt many mums would appreciate this 'you were right' Mother's Day card from SmartyBants. Note not all cards include free UK delivery, and be sure to order from a UK seller in order to receive it in time. 02. Scribblr This Whale & Bird card speaks the truth If your mum has a wicked sense of humour, Scribblr is one of the best places to get a Mother's Day card. Renowned for its funny (and extremely rude) cards, this online retailer is sure to put a smile on your mum's face. This Mum quotes design is sure to go down well, as would this hilarious No Friends offering. If you order before 4pm (Mon-Fri), cards are dispatched the same day, so you've got until tomorrow afternoon to make your decision. 03. Moonpig Give your mum the thumbs up this Mother's Day If you're after a personalised Mother's Day card, Moonpig has a hundreds of designs to choose from. And not only that, you can order flowers and gifts from them too, all in time for the big day. With a choice of numerous photo, cute, funny, cards from the pets, you're sure to find the perfect card for your mum. If you were thinking of buying your mum flowers too, Moonpig is running a special free card offer with any bouquet. Just use code LOVEMUM and the price of your chosen card will be discounted. Orders placed before 7.30pm (Mon-Fri) will be dispatched the same day, so you've got loads of time to get your cards and gifts in time for Sunday. 04. Amazon Perfect for any mum who loves bird-watching or floral designs Amazon is the place to get, well, anything, and Mother's Day cards are no exception. As you might imagine, there's thousands to choose from, covering every style from cute and cuddly, to funny and thoughtful. If your mum prefers a more traditional greeting card design, Amazon has a great selection. It also features a number of really lovely (albeit more expensive) pop-up Mother's Day card designs, which are sure to please. If you're an Amazon Prime member, you can also get free one or same-day delivery on eligible items, so you can be sure to get your card before Mother's Day arrives. If you're not an Amazon Prime member, you can sign up free for 30 days with no strings attached. 05. Not On The High Street Show your mum your most precious memories As the name suggests, you won't find these amazing Mother's Day cards anywhere on the high street. Not On The High Street specialises in bespoke, customised card designs, so are perfect if you're looking for that something extra special. This personalised photo memory flip card (above) has got to be one of our favourites, and with free UK mainland delivery, orders placed today will be delivered by Saturday 14 March – just in time! There are so many wonderful designs here, not only will you find something to suit, but the creativity on display is sure to inspire you along the way. Many of the retailers are offering free UK delivery in order to meet Mother's Day, but be sure to check before you place any orders. Read more: This insect sex ad will have you squirming in your seat iPad Pro 2020: All the latest rumours and leaks Toad takes his hat off, and you won't believe what's underneath View the full article

Charities and non-profits may not have the design budgets of more profit-driven companies, but they're just as much in need of engaging branding. In fact, often more so; when you don't have a tangible product or service to catch the public's imagination, strong branding and the right logo can help put a non-profit's message across and encourage people to get involved. Whether it's for a global operation or a small local charity, a non-profit logo design or branding project looks good in your portfolio, too, and it's a great boost for your studio's reputation. Here are eight amazing non-profit logos to fire your imagination. 01. WWF The WWF's giant panda is based on a design from 1961 The World Wide Fund for Nature – originally known as the World Wildlife Fund – benefits from one of the most instantly identifiable logos in the world. Its iconic giant panda logo was originally drawn in 1961 by the WWF's founder chairman, artist and naturalist Sir Peter Scott, and has been refined and simplified over the years. In 2010 ArthurSteenHorneAdamson refreshed the WWF's brand identity with a stencil-based logo that allows designers to overlay colour and imagery on the black of the panda, making it easier for the organisation to convey its message and help people know exactly what it's about. 02. Shelter Turning the 'h' in Shelter's logo into a house was a stroke of branding genius Johnson Banks' 2004 redesign of the Shelter logo came about because the charity had almost been too successful. At the time it had largely succeeded in its original task – getting homelessness off the streets – and was concentrating on the problems of people living in housing that was unfit for human habitation. Getting that message across, however, was proving difficult. Working with Shelter's agency, Hooper Galton, Johnson Banks developed a new communications style to keep its messaging simple, readable and authoritative. The master stroke, though, was the logo: by adjusting the 'h' in Shelter to show a pitched roof, it created an indelible association between Shelter and housing, and provided Johnson Banks with a flagship project for its portfolio. 03. Mozilla Riffing on the http:// protocol for Mozilla is another branding win from Johnson Banks Not all non-profits are charities. Mozilla is the company behind the Firefox browser, but few people realised that it was a non-profit that developed products and technologies designed to keep the internet growing and healthy. In 2016 it brought in Johnson Banks to change this, with a rebrand that was conducted in the open, in keeping with Mozilla's open-source focus. You can see the full development process over at the Mozilla Open Design site, from Michael Johnson's first post through to the finished product. What really stands out, though, is the logo, ditching the outdated Mozilla dinosaur logo and replacing it with a wordmark that plays on the http:// protocol to create a design that is clearly internet-related. It's simple and incredibly effective. 04. Cancer Research UK The Cancer Research UK logo's a bit busy, but there's no mistaking that palette A good modern logo needs to be fairly simple, not just so that it can be easily recognised, but also so that it can scale elegantly. Sometimes it pays to break the rules, though; you could never accuse InterBrand's 2012 redesign of the Cancer Research UK logo as being simple. Made up of multicoloured dots designed to embody the collective nature of Cancer Research UK's mission and supporters, the logo's part of an identity refresh aimed at building awareness of the charity's aims and achievements. And while you could never draw the logo exactly from memory, its striking palette of purple, magenta, grey and white sticks in the mind, and is used across its brand messaging to provide an instant visual touchstone. 05. Oxfam It took Oxfam 70 years to unify its branding, but it was worth the wait Founded in 1942, Oxfam didn't have a single visual identity for 70 years. It operated as an international confederation made up of multiple organisations, each with its own branding, which worked perfectly well for many years. More recently, however, the need for a unified global identity became apparent, and a team at Wolff Olins, led by Marina Willer, now a partner at Pentagram, created a rebrand that could be used by all 15 Oxfam organisations across 90 countries. Aiming for a logo that's both visionary and practical, Willer's team also needed to make something that worked internationally and didn't feel Western. It left Oxfam's 'OX' logo largely untouched, but combined it with a capitalised wordmark, complete with new fonts and colour palettes. The result is an identity that looks the same whether you see it in a Manchester shop window or on a leaflet printed in Mexico. 06. PBS This recent update to the PBS logo remains faithful to Tom Geismar's 1984 design Tom Geismar of CGH designed the PBS logo as we know it back in 1984, taking the 'P' – a stylised man facing left – from Herb Lubalin's original three-letter logo, turning it to face the other way and layering it to turn it from one man to everyone, representing the idea of public television. It's a strong look, and with an audience of over 146 million people it's one that you mess with at your peril. But that hasn't stopped PBS from refreshing the logo; two years ago it brought in Lippincott to update the design, and the results are being rolled out now. It's still that unmistakable Geismar design, but with a friendlier rounded tip to the nose; along with the updated logo there's a custom typeface, PBS Sans, and a new signature colour called, of course, PBS Blue. 07. Red Cross There aren't many logos that are protected under the Geneva Conventions; in fact the Red Cross logo is the only one we can think of right now. Recently an Australian TV show got in trouble for using a logo that was just a little too close to that of the Red Cross, and was forced to change it. Designed as an inversion of the Swiss flag and dating back to 1864, the Red Cross – along with the Red Crescent and Red Crystal – is a symbol of protection, and international law protects anyone wearing it, as well as buildings and transport that displays it. Extremely simple and easy to see, it's one of the most recognisable symbols on the planet. 08. British Heart Foundation If it ain't broke, don't fix it The British Heart Foundation's 'Heartbeat' logo was originally designed in 1971 by Sheila Harrison, one of the BHF's regional organisers, and it's one that's stood the test of time. Combining a heart and a heartbeat waveform into a single line, it's a beautifully simple logo that does the job perfectly. And so when Wolff Olins was brought in to refresh the brand in 2018, it wisely left the logo well alone and worked around it, commissioning a custom typeface – BHF Beats by F37 – as well as icons and imagery that were inspired by the logo's pulsing and flowing motion. Along with a new slogan – 'Beat heartbreak forever' – it all adds up to a fresh look that complements one of the UK's best-known logos. Related articles: 8 big brand logos that never saw the light of day The 6 best branding books in 2020 5 big logo design trends for 2020 View the full article

If the thought of insects copulating doesn't immediately bring to mind DIY, then that's about to change. German DIY brand Hornbach's new ad gets up close and personal with insects having sex, with the accompanying tagline of 'Biodiversity starts in your garden'. There's even a squelchy ASMR soundtrack, just in case you weren't already squirming in your seat. The campaign was created by Heimat Berlin, with the CG insects made by Illusion CG Studio, and is supposed to promote Hornbach's environmentally friendly products. It might be a bit of a stretch to go from environmentally friendly fertiliser to some very friendly insects, but we'll go with it. Just like many of the best print ads, we're happy to (ahem) jump on board. The soundtrack of the ad, Dora Hall singing I love the outdoors by Jill Jackson and Seymour Miller, adds to the feel. We also particularly love the last few moments, where a lady digs her hand pretty sensually in some mud, stares at the camera while biting her lip and then seems to straddle her garden fork. If that doesn't get you in the mood for organic fertiliser then we don't know what will. The print campaign accompanying the ads is also pretty special. Just in case you didn't get that this is a campaign about sex, the prints ads are here to really spell it out. Finally! And of course drum home that all-important message about biodiversity. Biodiversity has never looked so... horny You can see more of Heimat's work for Hornbach on the agency's website, or those who speak German can learn more about Hornbach's campaign on its site. Read more: Subtle K-Y rebrand is a stroke of genius Durex hits the spot with a sexy new rebrand The problem with period product branding View the full article

Over 16 security flaws, including multiple backdoors and hardcoded SSH server keys, plague the software. View the full article

CVE-2020-0796 affects version 3.1.1 of Microsoft’s SMB file-sharing system and was not included in Patch Tuesday. View the full article

Leaked iOS 14 source code appears to have confirmed a rumoured new budget iPhone. A potential successor to the iPhone SE (Apple's previous low-cost iPhone offering), the new low-cost device is expected to feature a similar body and 4.7-inch display to the iPhone 8. Based on the code (obtained by 9to5Mac), the new budget iPhone will support Touch ID as well as Express Transit, which allows users to pay for transport without unlocking the phone. Add these features to its diminutive form, and the new iPhone sounds like a contender for our best smartphones list. An iPhone 9 concept render The new phone is rumoured to be called the iPhone 9. Confused? Apple skipped the '9' moniker when simultaneously launching the iPhone 8 and iPhone 10 (sorry, 'X') in 2017, so we suppose it makes sense to plug that gap with a budget device. It sounds perfect for those who prefer a smaller phone, and might not need an LED display or countless cameras. The iPhone SE But now, the bad news. According to Cult of Mac, a source inside Apple claims that company has now postponed the launch of the iPhone 9 indefinitely, as well as cancelling its rumoured event on 31 March due to coronavirus fears. As well as the iPhone 9, Apple is expected to launch an updated iPad Pro, and an updated MacBook Pro. Apple's campus is based within Santa Clara County, where mass gatherings of over 1,000 people were recently banned for three weeks. Even if the event is indeed cancelled, we could see Apple launch the new iPhone with a simple press release (as with the recent MacBook Pro 16-inch). If not, fans of smaller phones may have to cling on to that iPhone SE for even longer. You can read all about the iOS code leaks on 9to5Mac. Related articles: iPhone 11 Pro review Coronavirus: Work from home more productively iPhone 12: Surprising design decision revealed View the full article

In this tutorial, I’m going to walk you through how to create an impactful UX case study. It’s perfect advice for designers who are about to embark on a new job hunt. And, it’s going to be especially helpful for …View the full article

The new Wacom One is designed to be an affordable and, more importantly, an accessible new entry point for artists looking for a drawing tablet. The Wacom One is friendly both in its appearance and its ability to work with Windows, Mac and Android devices, most notably working with a variety of styluses other than the one it ships with. The Wacom One could be a step up for many new 2D and 3D artists looking to find more natural ways to create. At a fraction of the price of the Wacom's Cintiq displays, has a reduction in price meant a decrease in performance? Or is Wacom's latest release set to hit a spot in our round up of the best drawing tablets money can buy? The Wacom One is the first drawing screens I've had access to for a long time. I used Wacom's Cintiq 13 and Cintiq 21 approximately five years ago when they were needed for my visualisation work. However, both of these devices went to eBay heaven for a couple of reasons. Firstly because they always presented a cabling nightmare and secondly because they were big and cumbersome. Also, the iPad Pro and the Apple Pencil happened. iPad applications like Duet and AstroPad mimicked the functionality of a Cintiq, and when the iPad was not being used as a drawing tablet or second screen, it could also be used as an iPad. So I was interested to see what the Wacom One could offer in a post-iPad world. Especially with the addition of SideCar, which allows a newer iPad to be used as the second screen or drawing display with more recent Macs with no additional applications. Wacom One review: Design and accessories When opening the packaging for the Wacom one, I was relieved to see that Wacom still puts effort into its packaging, everything I needed was accessible and available. However, there are still cables, this is both good and bad. Bad because who wants to mess with cables in this wifi world? The Wacom One needs three to connect to a computer; one for USB, one for HDMI and one for its own power, the latter of which is annoying. The good point about cables, however, is it means the device doesn't draw power from a laptop, which is the case for iPad solutions. On both Mac and Windows, the Wacom One was plug and play. Wacom haven't skimped on dongles for the lower price. There are USB-C adaptors included for both the HDMI and USB cables, which meant that the Wacom One worked with no additional dongles needed for my two test computers (Razer Blade 15" and a 2017 15" MacBook Pro). The Wacom One needs three cables to connect to a computer The Wacom One unit itself is housed in a very well made white utilitarian plastic case, that has a couple of fold-out legs which stow away flat when not in use. There is a single power-lead which has a HDMI and USB connector, and that's it. There is no adjustment in the legs, and the placement of the power lead means that it is difficult to turn the screen around so that it could sit as an upright second monitor, which feels like a missed opportunity. The stylus that comes with the Wacom One is a more basic solution than the Pro styluses that I am used to with the Wacom Intuos range. In the little styluses defence, in use, as it has 4096 levels of pressure sensitivity, drawing felt as precise as it has always done with Wacom tablets. There is only one button on the stylus, which can be mapped to whatever the user desires using the Wacom drivers. I also missed a hardware button on the Wacom One itself. Drawing feels precise with the Wacom One stylus Wacom One review: Screen The screen resolution is 1920 by 1080, which for the size is absolutely fine, especially when working with Windows. Another size benefit is that viewing angles held up well for colour accuracy when viewed off centre, even though the screen can only manage 72% of NTSC colour gamut coverage. The screen's one major downfall is that it simply isn't very bright, and this can be an issue in a room with overhead downlighting, as the matte surface spreads out diffuse reflections. When compared with an iPad with an Apple Pencil, that can connect to Mac with the new SideCar software, the screen difference and quality is literally night and day in the iPads favour. SideCar also implements dynamic software buttons on the touch display of the iPad, making it, in my opinion, a better experience both in use and value. As when the artist is not using SideCar, they also have an iPad to use. The screen's brightness is a major downfall Wacom One review: Should you buy it? The Wacom feel is 'better' than the iPad, in terms of latency. However, the drawing experience is identical on iPad or Wacom One, and a basic iPad and Pencil can be found for approximately the same price as a Wacom One. For Window users, however it is a very different story. I have never been tempted by a drawing device other than Wacom, due to their reliability and feel. In this regard, the Wacom One maintains the Wacom brand well. The Wacom One is a robust and dependable device that always just 'worked' when I plugged it into the Razer laptop. Due to its flexibility, rugged construction and drawing experience, the Wacom One should be considered by any artist looking for their first drawing display – as long as they don't work in room with lots of bright lights. View the full article

The holy grail as a freelance artist has always been the ability to work remotely on as light and simple a device as possible. It’s simple logistics: the smaller your device, the less gear you carry, the more accessible you make yourself – and the more likely you are to be hired. Wouldn’t it be great if everything you needed fit into a backpack and was all contained on one device? No peripherals, no extra cables for ports you didn’t expect, no hard drives – just one device that could do everything. That day may be sooner than you think – and possibly not on the device you would imagine. Conventional thinking would be to explore something like the Wacom MobileStudio, a device that sets out to do just this – give you the full operating power of a PC contained in a single mobile device. However, the hefty price tag may put some off, especially when combined with the cost of licenses for the best 3D modelling software. One such path is proving to be quite interesting: the iPad Pro. The latest iPad Pro starts at only $769/£769, but can it compete with the processing power of a Wacom? The answer is sadly no, however, that could be less of a stumbling block as it may not require all that raw power anymore to complete the same tasks. Recently, developments from Apple are allowing much more complex programs such as Shapr3D and Forger to really shine with the use of an Apple Pencil (see our best iPad apps for designers for more great apps). Combined with its generally user-friendly interface, portability and ease of sharing files, the iPad Pro has become a real option for basic remote 3D work. Here is the challenge we’ll explore – how much of a full 3D pipeline can you realistically recreate using apps on the iPad Pro? We put seven apps through their paces to find out. And that's before you take into account the rumours about the upcoming iPad Pro 2020. But first up, a word on what the iPad isn't. What can't the iPad do? The iPad can't do rendering, animation or rigging – so straight off the bat, we are limited to the asset creation portion of the pipeline; we can model, and create artwork and concepts, but that’s where this journey ends. Sort of. There is surprisingly some limited capability for mocap. Apps like Face Cap (see video above) allow you to use Apple’s front-facing camera as a motion capture device, allowing you to record basic speech and facial expressions. So perhaps the iPad isn't as limited as you might imagine for 3D work. And it's getting better all the time. After all, with the release of Photoshop for iPad, it looks like more and more apps could be getting an iPad-ready makeover. In order to fully release the potential of the iPad, I’ve embraced Apple’s recommendation to use as many of its products as possible, signing up for iCloud storage and linking my other Apple devices (an iPhone X and an older iPad Mini). This is actually the key to this whole enterprise: the iPad alone will not suffice, you need the cloud-based storage to make this workable, not just for its size, but also for its ease of access and shareability. In addition, syncing my iPhone makes my digital content available to me 24/7 wherever I may be, whether I have my iPad or not, meaning I can remotely download, share, move and store all my files whenever. It also becomes increasingly simple to add supporting content like photo refs and video using the iPhone’s camera and syncing my files automatically – when I turn either device on, bam! There is my content, shared and ready to go. iPad apps for 3D work 01. Forger Price: £9.99 Asset creation is where these apps shine. Forger is a solid substitute for ZBrush, in fact in many cases it exceeds it – not in its overall power or scope of tools and abilities, but certainly in its interface. It’s designed specifically for the iPad, and so the layout of tools is neatly arranged for you to use your right hand to draw and your left hand for alt keys like the smooth and inverse functions. One of the things I’ve struggled with using ZBrush on mobile devices is its navigation, as you really need to make a custom interface to make it functional on any tablet, with many people resorting to buying Wacom’s ExpressKey tool to make ZBrush easier to use on devices like the Microsoft Surface, which are not specifically designed for it. Also read: Tips to master ZBrush 02. Shapr3D Price: Free (for up to two designs) Shapr3D's closest equivalent is in fact not Maya, but something more like Moi 3D – however, the developers know its limitations and have totally embraced the gesture and tap-based interface options of Apple’s devices, providing a detailed series of free tutorials on their YouTube channel, and in fact within the app itself. Once you have mastered these, it becomes a surprisingly fast and efficient tool, able to produce accurate and complex geo in mere minutes, often beating the time that would take a more conventional tool like Maya to do. This app in particular has a dedicated feedback forum, and release updates are frequent and well thought through. Recent additions include a better outliner/geo manager, the ability to import DWG files and convert to usable meshes as well as STL files, and a greatly improved drawing mode. It’s clear that these guys are really looking to corner the market in iPad-based CAD. 03. Photoshop for iPad Photoshop for iPad is a bit of a game-changer Price: Part of a Photoshop subscription The full-fat version of Photoshop for iPad, which works exactly like the desktop version without cutting out any features or flexibility, is a rubber stamping of our main argument in this article – that the iPad is now truly powerful enough to act as a substitute for desktop and laptop computers. Adobe has already produced various graphic design apps for the iPad over the years, all of which have been decent, but ultimately limited versions of the desktop experience. At the heart of this new app is proper support for opening and saving PSD files, with unlimited layers just like on the desktop, adopting a 'pick up where you left off’ system where changes are synchronised via Creative Cloud. You can carry over your edits, brushes and layers from desktop to iPad and vice versa. Get Adobe Creative Cloud here While all the desktop tools and functions are available in the iPad version, the user interface has been redesigned for touch-interface use, with heavy use of popover icons, single and double finger tapping and so on. Some Photoshop veterans have struggled to adapt to this new UI. Much of their skill and speed at editing comes from years of use, with long-engrained muscle memory about keyboard shortcuts and menus that may be lost with this transition to the iPad. Photoshop for iPad may therefore find it hard to establish itself on tablets in the same way it has on desktop computers, and instead may become just another tablet graphics app, competing hard against other tools. See our full Photoshop for iPad review for more info. 04. Procreate The Procreate app is one of the best drawing apps on the market Price: £9.99 I’ve been using Procreate to add the finishing touches to anything I’m exporting out of Forger or Shapr3D. Effectively it’s a substitute for Photoshop, and works as my primary application for concept work. Once again this app has been designed with the iPad Pro specifically in mind, and it has an incredible amount hidden under the hood. So much so, that I would thoroughly recommend attending one of Apple’s free lectures at your local Apple Stores on getting up and running in this app, because it really is one of the best drawing apps available. It enables you to add colour layers, import photos, blend textures in and customise brushes to create a very effective paintover and complete a concept, ready to show to clients. 05. Heges Price: Free (offers IAPs) One of my favourite uses of this bridge is the app Heges, which utilises the iPhone X’s front-facing camera to create instant 3D scans of your face (you can also run it on an iPad Pro). As a workflow example, I can scan anyone I meet on the iPhone, upload it to the cloud (these files are large) and download it onto a 3D viewer on my iPad such as emb3d.com, where I can convert into an OBJ and load into Forger. 06. Affinity Photo Affinity Photo is an affordable Photoshop alternative Price: £19.99 On the Mac and Windows, Affinity Photo is a highly affordable alternative to Photoshop, a great way to avoid Adobe’s subscription plans with a modest one-off purchase fee. The same applies to the iPad version. (See our post on the best Photoshop alternatives for more options.) But what’s really great about Affinity isn’t its affordability, but how truly powerful it is. It can do every advanced thing that Photoshop can, and gives you just as much control. That includes stacking bazillions of layers together, working with Raw files and batch processing. If you can think of anything you need, you’ll probably find it’s possible with Affinity. And just about everything from the desktop version is available too. Serif also has the iPad version of Affinity. Save an Affinity document on a Mac and open it on an iPad (or vice versa) and you can pick up right where you left off, with the same brushes, masks, layers, and so on. With so many features, the Affinity iPad interface is deep and complex, and it isn’t a program that a beginner will likely be able to easily master in a short space of time. But the relatively low price of such a powerful tool means that there’s no real excuse for graphics professionals of any discipline to not keep this tool on their iPad. 07. Pixelmator Pixelmator can do more than you might imagine Price: £4.99 If Affinity Photo is the iPad’s answer to Photoshop, then Pixelmator is perhaps more akin to Photoshop Elements. That’s not a criticism, Pixelmator is also capable of powerful editing and can be used to create multi-layered images from the ground up. It's been designed to cater for advanced mobile photography more than graphic art. Pixelmator is naturally also available for the iPhone, with an interface that’s more beginner-friendly than that of the iPad-only Affinity. It has over 100 brushes, effects and filters, colour adjustments, painting and selection tools, but these are primarily aimed at retouching existing photos. In this way, anyone who is serious about mobile photography can easily create something that looks very impressive, add graphics or text to photos, turn them into collages, flip, rotate and transform them, touch up and enhance them. The interface and beginner-friendly nature of Pixelmator shouldn’t fool you though. Its engine can perform some powerful but subtle edits to images. Light processing can be done with just a few taps, making it possible to perform complex adjustments (such as lowering reflections on an object) without diving into too many settings. It’s also been around for some time now. Pixelmator is one of the most mature graphics tools on iOS, and performs spectacularly. Notably, a new iPad-only app called Pixelmator Photo has just launched this year, with even more high-end photo editing tools that take advantage of modern iPad hardware such as machine learning, but even fewer features for creating images from the ground up. We see no reason why Pixelmator and Affinity cannot coexist. They cater for two markets of mobile users, and at their low prices (compared with desktop image editing software), there’s no reason not to own both. Is an iPad better than a Wacom? The conclusion here for me is simple: this setup cannot do what a Wacom MobileStudio can. Without the processing power to fully animate and render, it will remain quite limited. However, with more and more of these types of apps coming out, I don’t think that day is very far off. At less than half the price of a Wacom MobileStudio, it’s just much more accessible, and it’s fun to use! I would honestly recommend downloading all these apps now, or splashing out on an iPad Pro if you don’t already have one, as it’s a great substitute if you want to conceive ideas, or just practise your modelling/sculpting skills. When you have the ability to create ideas and model/sculpt on the go, and then download those concepts to a more powerful machine to render out stills in software such as KeyShot, it becomes a hugely powerful tool – you can always be producing artwork without the restrictions and confines of a studio or office. Since adopting this workflow, I’ve found myself creating more and the simple truth is, it’s just much more accessible to your everyday life. Give it another year, and who knows what will be possible? An edited version of this article first appeared in issue 254 of 3D World, the leading magazine for CG artists. Buy issue 254 or subscribe to 3D World. Read more: The 10 best 3D movies of 2020 8 mind-boggling facts about the making of Toy Story 4 Amazing After Effects plugins View the full article

There’s more to design than creating an appealing or practical product. It’s a discipline which involves creative thought processes that lead to innovative solutions. Today, this is becoming widely recognised as businesses look to use design, and design management in particular, to find new ways of succeeding commercially. Both Apple and Tesla are good examples of big brands achieving their strategic mission and goals through design management. Their teams have strategically used creative problem solving approaches to connect with the needs of their customers more effectively. And by developing their understanding of design management, its tools and techniques, creatives will be equipping themselves with skills that could help them prepare for management level positions. Even non designers working closely with creatives can benefit from a strong knowledge of design management, as it will help them to better understand and manage their design teams. One way to develop your design management skills is with a Design Management MA from Northumbria School of Design. Here’s how the postgraduate course could help take your career to the next level. It will help you master design thinking abilities Design thinking can be seen as both an ideology and a process. But at its core, it’s concerned with finding user centric and creative solutions to problems. It does this by breaking problems down into component parts, allowing you to identify core issues and take effective action. With the Design Thinking module, students will be introduced to unique design thinking methods. And with these skills, they will discover how to apply creative solutions to challenges in order to create new opportunities. This knowledge can be applied to your current role immediately, meaning that you’ll be able to see the benefits right away. And because it’s transferable, this strategic approach to problem solving can be applied to different contexts beyond the conventional design sphere. You’ll learn how design and business are connected Design and business might appear to be quite separate disciplines. However a good manager will spot how they can aid one another. With the Design Management: Strategy module, students on this course will discover how the two are closely aligned. By learning how traditionally analytic business models can work alongside creative design thinking, you’ll develop sharper and more innovative strategic skills. This is vital for managerial positions where you may be required to identify new opportunities for growth for your business. Design Management students will be ahead of their peers. They will be able to use design thinking to approach business problems innovatively. Plus they will be able to use what they’ve learnt to create unique, strategic solutions that engage with an organisation’s needs - bridging the gap between the commercial world, and the creative one. It will improve your knowledge of the design process Knowing how design works within a larger corporate framework can be difficult to figure out, and even harder to express. But being able to demonstrate how design can help your business get ahead is crucial if you want your career to progress. With the Design Management: Articulating Value module, you’ll be able to do exactly that. This section will introduce you to the definitions of design management, and show you how design is linked to your organisation’s success. By analysing case studies you’ll find out how multinationals have used design to expand their business. You’ll also learn how to communicate design theories to your team in order to put these processes and activities into action in your company. Sign up today Studying a Design Management MA at Northumbria School of Design doesn’t have to get in the way of your work, in fact you’ll be able to act on what you’ve learnt quickly. And because it’s a distance learning course, this MA is a convenient way to level up your career. Currently ranked in the top 10 for Design and Crafts in The Guardian UK University Guide 2020, Northumbria’s School of Design academic and support teams will assist you from your first year to beyond graduation. Everything you need to study will be available via an online portal, and graduates will gain exclusive access to an employability hub packed with career-developing resources. So if you want to join a design school with an international reputation for excellence, and one whose illustrious alumni boasts the likes of Sir Jonathan Ive, Rob Law MBE and Nicola Morgan, find out more about the Design Management MA here. View the full article

The best monogram fonts feature in some stunning monograms. From General Electric to Yves Saint Laurent and NASA’s iconic worm, there are plenty of intelligently drawn monogram logos around, and the best ones use an iconic and memorable typeface. When you ask graphic designers which font they’d use to create a monogram logo, the good ones will tell you that, "You’ve got to draw those bad boys". However, designers rarely draw monograms from scratch, and while an identity project is getting off the ground and the creative approach is being finalised with the client, designers will be playing around with a variety of different concepts. Off-the-shelf fonts are mighty handy in the initial design phase, and sometimes end up being used with very few tweaks even in what may look like highly crafted monogram logos (see our favourite monogram logos ever in our roundup). By chatting with a range of designers and looking for lovely monogram logos out in the wild, we've put together a list of unique, interesting and even outrageous fonts that could provide inspiration for your next monogram venture. And if you're after more font inspiration, don't miss our list of the best free fonts available, or our favourite handwriting fonts. 01. Fidelio Fidelio: Alterative characters with extravagant swashes make Fidelio a playground for the logo designer Price: From £31.99 Download here Drawn by the French graphic designer and typographer José Mendoza y Almieda in 1980, Fidelio was named after Beethoven’s only opera. Despite this Germanic influence, it’s a chancery script with a Romanesque look and feel. Its loops and flourishes are attractive, but not overdone, and pulling the initials of a brand name together in various ways will result in some fascinating permutations as the extensions of the letters interact. The beauty brand Armand Dupree uses Fidelio almost unchanged in its monogram logo. 02. Baskerville You don’t have to look far for a font that can result in fantastic monogram logos Price: From £35 Download here Designed in the 1750s, Baskerville is a classic typeface that you probably already have in your arsenal – it’s part of the Adobe Fonts collection after all. Inspired by Didot and Bodoni, it’s the contrast between the thick and thin strokes that you will play with when using Baskerville as the basis for a monogram logo. Turn up that contrast until the thin strokes have disappeared and with a touch of creative magic you’ll create a monogram that is an abstract form while remaining readable as lettering to the viewer. The V&A and Roger Federer logos are examples where a Baskerville-style font was the start of something special. 03. Caslon Graphique There’s something playful about Caslon Graphique’s curves and how they flow into those thick vertical elements Price: From £23.20 Download here Caslon is another classic English typeface that is hard to beat. The original font family was developed by Caslon in the 1720s, and Caslon Graphique takes those basic proportions and pumps up the contrast. As with Baskerville, the interplay between the light and heavy strokes is what makes Caslon Graphique a joy to work with in logo development. 04. Bellissima Script Embossed in a soft, springy stock, Bellissima Script instantly evokes a sophisticated and timeless feel Price: From $79 Download here In days of yore, monograms were formed from the initials of important people and sewn into their clothing in lavish calligraphic lettering. Bellissima Script gives you all the delicious swoops and swashes you could ever need when designing a monogram logo with an elegant, sophisticated Baroque feel. Not only does Bellissima Script ooze with class, it’s an award-winning typeface by Alejandro Paul, which helped his foundry Sudtipos make its name in the early 2000s. 05. American Typewriter Seen here in a light condensed form, American Typewriter’s serifs are just crying out for the addition of loops and swooshes Price: From £35 Download here Although inspired by typewriter fonts, American Typewriter was never really used in the machines and now enjoys life in the digital realm as a MacOS and iOS system font. As such, it is likely to be right under your nose, ready to be deployed in your monogram logo designs. The lightest versions of this typeface, with its soft curves and delicate slab serifs, are crying out to be connected with cleverly drawn swashes. Well linked, two- and three-letter monograms in this typeface work well as white out of a colour in a roundel. 06. Maelstrom Sans With its negative approach to stroke weight contrast, Maelstrom has hidden optical effects yet to be discovered Price: From $50 Download here Ever since the late '90s, New Zealander Kris Sowersby has been absolutely killing it typographically via his Klim Type Foundry. Maelstrom and Maelstrom Sans are typefaces that radically reverse typographic norms when it comes to contrast. Where a typeface like Didot would have a thin stroke, Maelstrom goes thick… and then some. It’s not the only typeface to do this – also see the Negative variation of Typotheque’s Karloff – but it is perhaps the most extreme. Playing with Maelstrom will result in a monogram logo the likes of which the world has never seen, so why not give it a shot? 07. History The decorative layer within History was used by Studio8585 to craft this monogram for sports retailer Momento Venerem Price: From $80 Download here Experimentation with letters and finding new ways to connect them is at the heart of designing an appealing monogram logo, and History from Peter Bil’ak’s Netherlands foundry Typotheque is a typeface that offers plenty to experiment with. The standard Roman letter forms are there, and you can build on them in layers, adding serifs, swashes, outlines, patterns and more. There’s ample scope with this font to create numerous utterly unique monogram logos, and History has been applied in fascinating ways already in the world of identity design. 08. Bisect It’s pretty niche, but Bisect is full of possibilities if you can match it to the right brand Price: From £45 Download here Like History, Bisect is a type system that uses layers to interesting effect. However, where History celebrates the past, Bisect effuses about the future. These geometric, monospaced fonts build each letter from basic forms, fitting them into squares on a grid. Different fonts within the typeface are designed to work in layers and using them in that way could result in a monogram logo with two slices of future and one slice of retro in its look and feel. Also read: The best monospaced fonts 09. Founders Grotesk When Bruce Mau created the identity for the Ullens Center for Contemporary Art he took a knife to Founders Grotesk Price: From $50 Download here A modern geometric typeface may not seem like your go-to when thinking about a monogram logo, but if the client you’re branding is a modern organisation then why not use one and instead of just thinking outside the box, cut the box up completely? The great thing about geometric typefaces where the 'O' forms a perfect circle is that often the letters can be quartered and used to create new typographic structures – and that’s where possibilities come to the fore in terms of monogram logo design. Founders Grotesk is a great example, but you could also try Avant Garde, DIN, Futura and many others. 10. Digestive Designer Thomas van Ryzewyk rendered this monogram for perfume brand Thomas Kosmala in Digestive Price: From $129 Download here According to its designers, Digestive is the offspring of Art Nouveau and Gothic architecture influences. However, looking at type set in this face you’d be forgiven for thinking that it is actually a clever attempt to form letters from the digestive tract of a higher mammal. Never run from a font like this: unusual and even quite ugly typefaces can result in the most interesting and experimental monogram logos and they should never be written off. Digestive is a mind bender – use it and look for others like it. 11. Vance Serif Ancient Roman and Early Christian architecture influenced Vance Serif but it doesn’t feel old or traditional Price: From €49 Download here Much like Fidelio, the font we started off with, Vance Serif has a Romanesque look to it and wonderful swashes that lend themselves so well to monogram logo design. Indeed, it was inspired by Roman architecture and like any great classical typeface has a very solid underlying structure to it. Originally designed for the architecture firm Clayton Vance as a bespoke typeface by Kevin Cantrell and Andrei Robu, it’s now available for your logo design pleasure. Read more: How to add fonts in Photoshop The best multilingual fonts A complete guide to font licensing for designers View the full article

Clothing brand October's Very Own (OVO), owned by Drake, has had its feathers ruffled by luxury accessories brand Bellroy using an allegedly similar owl logo. OVO has filed a law suit against Bellroy, claiming that the company's recent move into footwear means its products benefit from resembling OVO's. The Canadian rapper's brand called fowl after Australia-based Bellroy supposedly changed its hunched-over owl to more closely mimic OVO's trademarked logo. And shortly after launched a range of shoes in collaboration with footwear brand Clae. (If they needed ideas, they should have read our logo design inspiration guide.) Bellroy's owl logo appears to have flown under the radar since 2013, or perhaps OVO (established in 2011) weren't too concerned when the leather goods brand were only selling wallets and phone cases. Either way, they certainly gave a hoot when footwear entered the frame. OVO's owl (left) vs Bellroy's (right) In court papers obtained by TMZ, OVO claims Bellroy "changed the design of the owl by altering its posture, width, wings and feet in order to blatantly mimic the OVO owl." It also claims that by placing the owl on footwear, Bellroy is competing with its "core business" of apparel. While we couldn't possibly say whether the similarity is intentional, Bellroy's owl (below) does indeed appear to have learned, at some point, to stand up straight. Bellroy's current logo (right) and an older version This is by no means the first time a company has been sued over logo similarities. Just last month, the City of Chicago sued a coffee company over trademark infringements. OVO is asking for an injunction to stop Bellroy and Clae from selling anything that looks similar to their owl. They're also seeking to get their talons into any profits made from the collaboration. Related articles: Under Armour sues Hotsuit for 'copycat' logo... but are they really that similar? Facebook sued over copycat Calibra logo The 10 best logos of all time View the full article

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Illustrated book publisher Thames & Hudson has revealed a brand new visual identity designed by Pentagram. The rebrand includes a new cartouche (a frame around a design) in which the publisher's monogram and dolphin symbol are surrounded by an oval. This new cartouche is both a modernisation and a nod to the publisher's heritage of over 70 years. As well as being designed to work in various sizes across digital and print, it was partly inspired by an original mosaic found in Thames & Hudson's London office (below). The mosaic features the two dolphins that represent the rivers the publisher is named after, in London (Thames) and New York (Hudson). If you haven't got an old mosaic hanging around, check out our logo design inspiration guide. The original mosaic (left) and the new cartouche (right) Pentagram isn't kidding when it says the new identity was inspired by the original mosaic. As well as informing the new cartouche, it has coloured the identity's palette of cool and warm greys. It's a nice touch of detail from the studio, and certainly fits the new ethos of bringing the publisher's heritage and digital future together: Now that's what we call colour matching Demonstrating the new mark's flexibility is its application on Thames and Hudson's sales catalogues (below). The oversized, brightly coloured design sits off-centre behind bold typography, for a strikingly contemporary look. We'll be ordering a few of these. Thames & Hudson's new sales catalogue design Thames and Hudson has over 2,000 books in print, from fashion titles to children's books. It was founded in 1948 with a mission to make the world of art accessible to everyone. With an eye on both the past and future of the publisher, this is a rebrand that ought to keep most people happy. Related articles: Subtle K-Y rebrand is a stroke of genius Fisher-Price’s new logo puts the fun back in branding The 10 best logos of all time View the full article

Design is an industry that thrives on new blood, and this means that the shelf-life for a successful design company can be relatively short. Out of the 30 companies listed in last year's Computer Arts UK studio rankings, 21 were founded in this century, and only one dated back to before the 1990s. Like people, many businesses tend to reach a point where they become middle-aged and a bit conservative. That's absolute poison when it comes to the creative industries, though, which rely on fresh ideas and experimental design that tend to come from younger designers. Some companies, though, have managed to not just stay the distance, but to positively thrive despite their advanced years. Here are six that have stayed relevant and look like continuing to do so for a long time yet. 01. Johnson Banks Whether it's working with non-profits or companies such as Duolingo, Johnson Banks strives to make a difference Founded: 1992 Michael Johnson set up Johnson Banks back in 1992, and 28 years on he's still in charge, overseeing the strategic and creative side of the company, but still relishes the opportunity to get involved with projects. Sometimes having a veteran at the helm who likes to get hands-on can be counter-productive, but this approach seems to pay off well at Johnson Banks. With its focus on non-profits and a mission to create work that makes a difference while demonstrating wit, intelligence and humanity, it's carved out an enviable niche for itself and looks set to remain relevant for a long time. 02. Spin Spin is determined adapt to design's constant flux, as this playlist design for Apple Music demonstrates Founded: 1992 Staying in the design game for any length of time means that you have to adapt to a discipline that's constantly changing. Tastes never stay the same for very long, new trends are turning up all the time, and any agency that doggedly sticks to what it knows is unlikely to last the distance. Spin recognises this, and describes itself as being obsessed with the challenges that this ever-changing discipline throws in its way. Recent clients include Apple, Wallpaper* and MUBI, and its placing at number 7 in the Computer Arts UK studio rankings shows that it's definitely taking the right approach. 03. JKR This branding project brought JKR plenty of attention Founded: 1990 Now in its 30th year, JKR has studios in London, New York, Shanghai and Singapore, and recently came in at number 2 in the Computer Arts UK studio rankings thanks to some stunning work for big brands such as Budweiser, Burger King and Heinz. What's really grabbed the public's attention recently, though, is its controversial rebranding of Dunkin' Donuts as simply Dunkin'. Not everybody approved of the move, but it generated a stack of publicity for the brand and also brought in its fair share of design awards, demonstrating that JKR very much has its finger on the pulse. 04. Graphic Thought Facility Graphic Thought Facility likes to build lasting relationships with clients such as the Frieze Art Fair Founded: 1990 Another studio due to celebrate its 30th birthday this year, Graphic Thought Facility is jointly owned by its three directors, two of whom – Paul Neale and Andrew Stevens – were its original founders, while the third, Huw Morgan, joined in 1996 and became a director in 2003. All three describe themselves as very hands-on, and with a small team of nine designers they maintain their reputation for appropriate, effective and original design solutions. Graphic Thought Facility prides itself on understanding its clients and building long-term relationships with them, and a look through its portfolio reveals a stack of regular clients; a great way to ensure your studio's longevity. 05. Pentagram Pentgram's approaching its 50th birthday but as this Fisher-Price branding demonstrates, it's not showing its age Founded: 1972 Often the driving force behind a studio is its original team of founders; if they move on the studio subsequently loses its way. For Pentagram this hasn't been an issue. All of its original founding partners have long departed the company, but Pentagram keeps going from strength to strength and is now the world's largest independently-owned design studio. Perhaps the secret to its ongoing success is a flat management structure in which all its partners are working designers who are also the primary contact for clients. Even though many of its partners are industry veterans, they're still very much in the game, and this personal commitment to design shines through in Pentagram's portfolio, which most recently has seen stunning work for the likes of Fisher-Price, Warner Bros and Yahoo. 06. Wolff Olins Work for companies such as Uber and Google are proof that Wolff Olins still has a finger on the pulse Founded: 1965 Now well into its sixth decade, Wolff Olins has never lost the ability to surprise – and occasionally outrage. Originally founded by Michael Wolff, who left the company in 1983 and now runs Michael Wolff and Company, and Wally Olins, who stayed until 2001 and died in 2014, Wolff Olins was well into middle age when it attained notoriety for its London 2012 Olympics logo. More recently it's worked with brands including Uber, Tesco and Google, and was named the most innovative design firm in the world in 2018 by Fast Company. Related articles: The design agency survival guide 9 agencies to follow on Instagram How to be the designer every agency wants to hire View the full article

It's one of the most contentious debates of our times, and one that has raged across the internet for years: is the mushroom on Toad's head a hat, or part of his head? The adorable "fictional humanoid mushroom" (thanks, Wikipedia) is a favourite from the Mario game franchise, but fans have butted heads over the contents of said mushroom to the point where Nintendo recently stepped in to clear things up (more on that below). Mushroom-gate has led to many speculative illustrations from artistic fans, and now illustrator Alex Solis has given us perhaps the most nightmarish concept yet. The question is no longer whether the mushroom is a hat (it is, according to Solis' depiction), but whether Toad's eyes are actually... nostrils? (Check out our character design guide for some less terrifying examples.) We're sorry We're filing this one straight under 'wish we could unsee' (where it joins the likes of the glitch that applied Donkey Kong's mouth texture to his feet). Fortunately, Solis' terrifying (and apparently sleep-deprived) interpretation doesn't match up with Nintendo's explanation of the mushroom. "So that, as it turns out, is actually Toad’s head,” Super Mario Odyssey producer Yoshiaki Koizumi recently revealed on the company's official YouTube channel (below). So, there we go. The general reaction on Instagram matches our own ("YOU DID NOT HAVE TO DO THIS," comments anths.art). Perhaps he didn't, but then what's the internet for if not for sharing horrifying concept illustrations of fictional humanoid mushrooms? It got a reaction from us and for that, we take our hat off to him. Solis' Toad concept is part of a series of similar illustrations he calls #UnpopularCultureSeries, which also includes this depiction of an evolving Pikachu: Head over to Solis' Instagram page to see more from the #UnpopularCultureSeries. We can't guarantee, though, that they won't reappear in your dreams tonight. Related articles: The optical illusion you probably won't want to work out Someone found a top-down view of Mickey Mouse, and people are horrified Logo swap is surprisingly disturbing View the full article

HP is on a bit of a roll of late. Even though the company has been one of the biggest laptop and PC makers in the world for a while now (second only to Lenovo when it comes to market share, fact fans), it certainly hasn’t been resting on its laurels, and its recent laptop releases, like the HP Envy 13, are some of the best laptops its ever made. HP’s Envy lineup of laptops are mid-range device that aren’t as premium (or expensive) as its Spectre line of laptops, pitching it against the likes of Dell’s Latitude range of laptops. But don't let that put you off, these computers are still hugely powerful and feature regularly in our round up of the best laptops for video editing. Creating a mid-range laptop that treads that fine balance between offering great value for money, while making sure not to skimp on performance, features and design, can be tricky, but it’s a feat that if any company can achieve, it’s HP. These mid-rangers are ideal for creative professionals as they look good, perform well for many creative tasks, like photo and video editing, while not costing the earth. HP Envy 13 review: Price The cheapest configuration of the HP Envy 13 costs £779. While this isn’t budget laptop territory, it’s certainly very affordable when compared to premium laptops like the MacBook Pro (see our 16-inch MacBook Pro review for more details), or Acer ConceptD 7. For the price, you get an Intel Core i5 8265U processor, 1.3-inch full-HD display, 8GB RAM, 256GB SSD and an Nvidia GeForce MX250 graphics card. That graphics card is a nice bonus in a laptop of this price (which usually use lower-powered integrated graphics), and while it’s not much use for gaming, it gives the laptop a bit more oomph when it comes to graphic-intensive tasks. As is often the case with HP’s laptops, there are various different configurations, so if you have a bigger budget and want something a bit more powerful, there’s likely a HP Envy 13 for you. For example, the next model up comes with a new Intel Core 15-1035G1 processor for £899. In our opinion, getting the newer processor is worth the extra money, as you’re getting a decent performance boost. You don’t get the discrete Nvidia GeForce MX250 graphics card with this model, but that doesn’t really matter as the integrated graphics of the Intel processor are much improved. You can also get a model with an Intel Core i7-1065G7 processor and double the SSD storage space for £999, which again is worth considering if you want more power, and that extra storage space will be welcome for anyone who works with large files (such as photographers). Finally, there’s a version (which is the one we have tested here) which comes with an Intel Core i7-8565U processor, 16GB of RAM and 1TB of storage for £1,049. Despite the older processor, this is the best configuration for digital creatives thanks to the additional RAM and storage space. HP Envy 13 review: Power and performance The HP Envy 13 that we got in for review comes with an Intel Core i7-8565U processor. This is an 8th generation Intel processor, which means its showing its age a bit, but it’s still a formidable CPU that offers plenty of power for a laptop. Coupled with the 16GB of RAM, and this configuration is a powerful little laptop that will breeze through day-to-day tasks. That amount of RAM and powerful quad-core processor means multitasking isn’t an issue – you can easily have plenty of apps open at once, and swapping between them all is fast and fluid. The HP Envy 13 comes with Windows 10 Home, and that feels quick and responsive when in use. The only complaint we have with the Intel Core i7-8565U is that the integrated graphics aren’t as good as Intel’s newer 10th generation processors, but that’s been mainly addressed by the GeForce MX250 GPU, which is enough to handle video and photo editing. For the price, we saw performance on par with more expensive laptops, like the Dell XPS 13, which is very impressive, as it means you can save money without compromising on performance if you go for the HP Envy 13. Battery life is also impressive, as we managed to work a whole 6-hour day without needing a charge. Now, during that time we didn’t do anything too intensive, like render 4K videos, but it means you can happily work on this laptop without worrying too much about when you’ll next need to charge it. When the battery does need charging, it does so pretty fast, thanks to fast charging tech that meant it was able to go from empty to 50% in just 45 minutes. Compared to more expensive ultrabooks like the XPS 13 and HP Spectre x360, the HP Envy 13 did really well, beating them all by about an hour. Power-wise, then, we were very impressed with the HP Envy 13, and for most people’s needs, this laptop offers a level of performance that will allow you to work while on the go. HP Envy 13 review: Display As a mid-range laptop, you won’t find any crazy-high 4K resolutions here, but the IPS 1080p display of the HP Envy 13 is bright, vibrant and looks excellent considering the price. The 13.3-inch diagonal display may feel a little cramped for people, but it keeps the overall size of the HP Envy 13 down, which means the laptop is a great portable choice for people who do a lot of travelling. There’s no professional calibration or support for industry colour gamuts, and this might put off people who need colour accuracy with their creative work, but again, due to the price of the laptop, this omission isn’t too surprising, and for many people it won’t be an issue. Certainly using the HP Envy 13 for day to day use will leave you with a positive impression of the display. The thin bezels around the screen again keep the overall size of the laptop down, while also giving the laptop a modern look. The screen is also a touchscreen, and protected by Corning Gorilla Glass technology, to keep it from getting scratched. While the touchscreen doesn’t mean this laptop can be used as a graphic tablet (the screen doesn’t fold all the way back, nor is a stylus included), it gives you an extra way to interact with the laptop, and that’s to be commended. Overall, the display isn’t the most amazing screen we’ve seen in a laptop, but it does the job well, and most people will enjoy the bright and vibrant image quality on offer here. HP Envy 13 review: Key features Even though the HP Envy 13 is on the more affordable spectrum of Ultrabooks (which are classed as thin and light laptops that offer high-end performance), it still comes with some great features that will be especially useful for digital creatives. For a start, it has a decent port selection with two standard USB-size ports and a single newer USB-C. This offers you a decent amount of flexibility when it comes to what peripherals you use. If you have older USB devices, you can easily plug them in to the HP Envy 13, while newer USB-C devices are also supported – though as it is just a single USB-C port, it means if you have more than one USB-C device you may need to buy an adapter to add more ports. The USB-C port is also used for charging the HP Envy 13. This is good as it means you can make use of that fast-charging feature we mentioned earlier, and it also means you can use other USB-C chargers to top up the HP Envy 13 if you forget the one that comes with the laptop, as long as they provide enough power. However, it does mean that you lose that single USB-C port when charging. An interesting feature with the standard USB ports is that they feature mechanisms that close the port when not in use. This helps keep the HP Envy 13 as thin and light as possible while including the full-size USB ports. Another welcome feature is the inclusion of an SD card slot, which will be of interest to photographers in particular, as it means you can insert your camera’s memory card into the HP Envy 13 without the need of an adapter. These ports are in stark contrast to the limited amount Apple includes in its modern MacBooks, where you’re stuck with two (or four in bigger models) USB-C ports – which means anyone with older USB devices need to buy an adapter. The HP Envy 13 also features a physical kill switch for its webcam, which is a great privacy feature for people who are wary of the potential for hackers to gain access to your webcam. There’s also a fingerprint scanner for biometric login to Windows 10, and Bang & Olufsen speakers that provide impressive sound quality that you don’t usually expect from a laptop. HP Envy 13 review: Should you buy it? The HP Envy 13 is a great example of a laptop that manages to offer premium features, performance and design, while keeping things reasonably affordable. This isn’t the cheapest laptop you can buy, and nor is it the most expensive, but it’s a great mid-range laptop that will suit most people’s needs. Crucially, it never feels like a compromise. Build quality is excellent and performance for most day-to-day tasks is excellent. There’s a decent amount of ports available, so if you’re a photographer this is an easily portable – and cheaper – alternative to the MacBook that offers more versatility than Apple’s laptop. There’s certainly a lot to commend the HP Envy 13 for. At this price point, it offers a design and features you’d expect to see on a more expensive laptop. However, it won’t be for everyone. Some models use older hardware, and none of the configurations of the HP Envy 13 are hugely powerful. If you need a workstation laptop that can handle particularly heavy workloads, like 4K video rendering, then you’d be better off spending more money on a more powerful laptop – you’ll only get frustrated. Also, digital artists who are after something to doodle on may be better off getting a 2-in-1 laptop, like the Dell XPS 13, as while the HP Envy 13 comes with a touchscreen, it’s not very suited to use with a stylus. Overall, though, for the price, the HP Envy 13 offers excellent value for money. View the full article