Rss Bot

Multiple hardcoded passwords allow attackers to create badges to gain building entry, access video surveillance feeds, manipulate databases and more. View the full article

In this rapidly evolving digital age, posting work online provides an easy way to get your work out to the world. However, with that comes the risk that it might get used without your permission. Over the past 12 months, we've seen many examples of blatant plagiarism within the design and creative community, many of which involve large companies using copied artwork in major marketing campaigns. Big brands should definitely know better, and yet that doesn’t seem to stop them taking independent designers’ work from design portfolios, Instagram accounts, or even Pinterest boards, and passing it off as their own, as some of these shocking examples below demonstrate. But what can you do about it? The truth is, it's a bit of a legal, not to mention confusing, minefield, which very much depends on the situation. We’ll be posting a follow-up article offering professional legal advice on how creatives should respond to plagiarism soon; you can also check out our post: how can designers deal with plagiarism? 01. A superhero has my back Jo Tutchener-Sharper was shocked when Asda used her brand’s slogan on its clothes without getting permission first It’s bad enough when you see your brand appear on a big company’s products without any acknowledgement or royalties. But when that brand is based on a profoundly emotional period in your life, it’s even worse. And that’s exactly what happened to Jo Tutchener-Sharper, founder of independent clothing brand Scamp & Dude. Jo originally came up with the slogan ‘a superhero has my back’ when she was in hospital recovering from brain surgery. “I was so scared that I wouldn't make it through the surgery and would end up leaving my boys without a mummy,” she wrote on Instagram. “A horribly hard thing to go through, but it was this that inspired me to create a brand that helps children feel more secure when apart from their loved ones. A Superhero certainly had my back and I made it through the surgery and Scamp & Dude launched into [Liberty London] 10 months later.” The brand was not only a hit, but Scamp & Dude went on to work with a number of charities and hospitals to help children in similar situations as Jo's. So when she saw a top from UK supermarket chain Asda featuring the exact same slogan, despite the fact she had already trademarked it, she had a ready made community of supporters to draw on via social media. The slogan had been trademarked, so Asda had no excuse for using it It wasn’t long before her story had been covered in The Independent, The Daily Star, The Daily Mail and The Sun. Jo wrote on Instagram at the time: “So many small brands don’t stand up to the big guys when this happens, put off by expensive legal bills. But by not speaking out and not drawing attention to what goes on, means it continues to happen. “This means a lot to me, so I’m doing this for all of the small brands who need a voice. Big brands need to learn that this is not acceptable. I feel like David taking on Goliath but everyone’s support is making me feel like I can do just that.” Finally, after fully pursuing the issue, about about six weeks after her first social media post, Jo came to an agreement with Asda, posting on Instagram: "I am very relieved and happy to report that we have come to a suitable agreement with Asda. Asda removed the garment in question from sale on 23rd Feb and we have now agreed full terms of compromise, including compensation. We are happy with the way this has been resolved. A huge thank you to everyone for supporting us, it means the world." 02. Plucked from Pinterest Sometimes when a big company rips off your work, it’s not the lack of credit or royalties that stings the most; it’s the thought that people will actually think an inferior version of your design is your own work. That was the case for Morag Myerscough, an award-winning London-based artist known for her colourful and distinctive installations, when she discovered the Unicenter shopping centre in Buenos Aires had a new installation that was striking similar to her own works, Temple of Agape 2014 and Super Structure 2015. Worse still, the artist who had carried out the work actually had the cheek to sign the piece! After Myerscough complained loudly on social media, she got them to admit the plagiarism publicly. “Basically the branding/production company were shamed into owning up," she recalls. "And the artist who put her name to the visual work took everything down from her site, and implied she'd signed it as the team leader of the painting team rather than the artist’s signature. “The branding company said they went on Pinterest, pulled off what they liked and presented to their client. Mine was chosen, so they just copied it and seemed to think this was okay (the client implied they were unaware of this). They probably thought they would not be caught out as it was a long way away. “Finally, they did agree to put money to a social project, but my work took over and I was not looking for compensation. I just wanted to show them that it was not ethically right to steal people's work and pass it off as their own. I do regret not following it up, but I just did not have the energy at the time as my mum had died at Christmas and the first few months of year zapped a lot of my energy.” The main thing is I don’t want people to think the bad copies are mine Morag Myerscough Because she didn’t pursue the company in court, Myerscough is not bound by a legal gag clause and is therefore free to speak her mind on the matter. “They have been other copies since and probably before, but they are so bad,” she says. “The main thing is I don’t want people to think the bad copies are mine. I think it's important to OUT these people, and prevent big agencies to make money from work that has taken many years to achieve and not just let people use the word ‘INSPIRED BY’ to copy their work without speaking with them.” 03. Unduly influenced Influencer Daryl Aiden Yow, who has worked with many big brands, removed all images from his site after presenting other photographers’ work as his own In 2018, global brands seem to be falling over themselves to work with influencers: people with huge social media followings who promise to help them reach new demographics. But with the ‘influencer industry’ requiring zero training, entry requirements or legal knowledge, they may be playing with fire. As a taster of what may be to come, Sony and Uniqlo were recently forced to issue embarrassing statements over their relationship with influencer-photographer Daryl Aiden Yow, who had claimed stock images and other people’s work as his own. Although there is no suggestion that he did so in the course of work for Sony and Uniqlo, it was still an embarrassment for them to be associated with someone who had profited from the work of other creatives. Yow, who has over 120,000 followers, regularly posted "professionally shot" images from around the world on his Insta account. However, he was caught out when she shared a photo of flowers in bloom that he said had been taken in Thailand. As @armies_photography succinctly pointed out in the comments: 'Taken from Shutterstock. It's Japan'. After news site Mothership highlighted 12 images that Yow had posted as being near-identical to the work of others, Yow deleted at the images on his Instagram page and has since posted one new image, a black square, with a comment apologising for his plagiarism. This is a cautionary tale for influencers, companies tempted to collaborate with them, and creatives who may be at risk of having their work stolen by them. As well as Sony and Uniqlo, Yow had also worked with OPPO, Issey Miyake, Colgate and LANEIGE as an influencer. 04. Military incursion Nike aroused the ire of the social media masses by releasing a logo that looked alarmingly like the US Naval Academy’s traditional crest It's not just independent designers who are at risk of falling victim to plagiarism. It even happens to the largest and most prestigious of organisations. You don’t get much bigger, in fact, than the US Navy. Yet that didn’t stop Nike from creating a logo, in collaboration with LA sportswear brand Undefeated, that was quickly said to be an infringement of the US Naval Academy’s historical seal, a trademarked design. The similarity between the military college's 1899 crest and Nike's logo for a soccerwear line called The Fives immediately blew up on social media. As a result, the Naval Academy issued a formal complaint, and Nike quickly apologised and withdrew the collection from sale. If only big firms would react as quickly when it's individual designers who make the same complaint. 05. Celebrity endorsement Marc Johns was alerted to copyright infringement of his work via Drew Barrymore When you’re a victim of design plagiarism, the more noise you can make on social media the better. And when this happened to Canadian illustrator Marc Johns, he had some unexpected help. He'd been alerted to the fact that South Korean kids’ fashion brand Jelly Mallow had used his artwork on a jacket without permission, because actress Drew Barrymore had posted a photo of her daughter wearing it. And the fame of its buyer not only brought the infringement to his attention, but gave him a fast route to whipping up a social storm. Johns posted about what had happened on Instagram and Twitter, and soon hundreds of people left comments on both Jelly Mallow's account and Drew Barrymore's own post. The actress herself soon responded, and the story turned out to have a very happy ending. "Jelly Mallow paid me royalties for all past usage of my designs, and we now have a new, ongoing licensing arrangement for them to use my artwork on future clothing collections," Johns explains. "Despite huge language barriers and time zone differences, Jelly Mallow has been very accommodating and transparent throughout the whole process, and very willing to make things right. Please make sure this is included in your article. They're good people." He's even now talking to Drew Barrymore's representatives about a possible project together. Many people have been surprised by this positive outcome, he adds. "But I have had good outcomes with other companies that have ripped me off in the past as well. It made me realise that other artists could probably use some help with this issue, so I ended up offering an online class on the subject. "I think there are still many many people and companies out there who are just plain clueless about copyright issues," Johns believes. "Most infringement cases are caused by ignorance more than deliberate theft: they think that if it's on the internet, it's free for them to use however they like. We need to do so much more to educate people that most images belong to someone. And sometimes that someone is an artist, trying to make a living and support a family." Read more: 21 outstanding uses of colour in branding A creative's guide to copyright The good, the bad and the WTF of brand apologies View the full article

Gillette has provoked an online backlash with a new advert that dares to suggest that traditional boorish male behaviour might not be cool after all. Released on Sunday, the #MeToo-inspired short film is called 'We Believe: The Best Men Can Be' – a smart play on Gillette's familiar tagline, 'The best a man can get'. It wastes no time in showing off the the worst that men can be, with a compilation of actions traditionally associated with toxic masculinity, before going on to showcase examples of how men can take action to be better people and set the right example for the next generation, through respect and inclusivity and by no longer justifying bad behaviour through language such as 'boys will be boys'. The ad has inevitably resulted in a furious online response; the video on YouTube has attracted, at the time of writing, 41,000 likes and 262,000 dislikes, and over on Twitter there's a tidal wave of petulant men's rights activist types on the #Gillette hashtag promising to boycott Gillette forever for daring to ask them to be decent human beings. This is the latest in a growing trend for adverts that challenge outdated views and dare to make a statement – although many of the controversial TV and print ads we've seen so far focus on the female side of things. 4 ads that tried to be cool, but failed Of course it hasn't escaped people's attention that the ad was directed by a woman: it's the work of Kim Gehrig at Somesuch, who previously directed the 2015 'This Girl Can' campaign for Sport England (watch it below). Online commenters have been quick to single her out and accuse her of destroying Gillette (and, naturally, accuse her of being a 'feminazi'). So why would Gillette go out of its way to provoke this sort of reaction? Gillette's not stupid; it will have known from the outset that exactly this sort of backlash would happen, it'll have done its research and come to the conclusion that the positives of this undeniably thoughtful and provocative campaign would greatly outweigh the negatives. And beyond the advert, Gillette is putting its money where its mouth is, with a commitment to donating $1 million per year to US nonprofits dedicated to helping men be their best. And while we're sure that some of the Gillette marketing team are keeping a nervous eye on the ever-rising tally of YouTube dislikes and Twitter rants, there has also been plenty of praise for the campaign. Although let's not go overboard here; others have been a bit more circumspect in their reaction. Related articles: 40 traffic-stopping examples of billboard advertising How gender affects design 66 brilliant print adverts View the full article

Building interactive websites can involve sending JavaScript to your users. Often, too much of it. Have you been on a web page on your phone that looked like it had loaded, only to have nothing happen when you tapped a link or tried to scroll? We all have. Byte-for-byte, JavaScript is still the most expensive resource we send to mobile phones because it can delay interactivity in significant ways. In this feature we'll cover some strategies for delivering JavaScript efficiently to your users on mobile, while still giving them a valuable experience. On this page, we'll dig into exactly what's causing the problem. Jump to page 2 for some advice on exactly how to reduce your JavaScript load times, including some web design tools to help you monitor your sites effectively. Why is JS slowing your mobile sites down? When users access your site, you're probably sending down a lot of files, many of which are scripts. Perhaps you added a quick JavaScript library or plugin but didn't have a chance to check just how much code it was pulling in? It's happened to many of us. As much as I love JavaScript, it's always the most expensive part of your site. I'd like to explain why this can be a major issue. Statistics from the HTTP Archive state of JavaScript report, July 2018 Many popular sites ship megabytes of JavaScript to their mobile web users. The average web page today currently ship a little less – a median of about 350kB of minified and compressed JavaScript. Uncompressed, that bloats up to over 1MB of script a browser needs to process. Experiences that ship down this much JavaScript take more than 14 seconds to load and get interactive on mobile devices. A large factor of this is how long it takes to download code on a mobile network and then process it on a mobile CPU. Not only can that 350kB of script for a median site from earlier take a while to download, the reality is, if we look at popular sites, they actually ship down a lot more script than this. We're hitting this ceiling across both desktop and mobile web, where sites are sometimes shipping multiple megabytes of code that a browser then needs to process. The question to ask is: can you afford this much JavaScript? Sites today will often send the following in their JavaScript bundles: A suite of user-interface components (for example, code for widgets, carousels or drawers) A client-side framework or user-interface library Polyfills (often for modern browsers that don't need them) Full libraries vs only what they use (for example, Moment.js and locales vs a smaller alternative like date-fns or Luxon) This code adds up. The more there is, the longer it will take for a page to load. Loading a modern web page Click the icon in the top right to expand the image Loading a web page is like a film strip that has three key moments: Is it happening? The moment you're able to deliver some content to the screen. Has the navigation started, has the server started responding? Is it useful? The moment when you've painted text or content that enables the user to derive value from the experience and engage with it. Is it usable? The moment when a user can start meaningfully interacting with the experience and have something happen. I mentioned this term 'interactive' earlier but what does that mean? For a page to be interactive, it must be capable of responding quickly to user input. A small JavaScript payload can ensure this happens fast. Whether a user clicks on a link or scrolls through a page, they need to see that something is actually happening in response to their actions. An experience that can't deliver on this will frustrate your users. When a browser runs many of the events you're probably going to need, it's likely going to do it on the same thread that handles user input. This thread is called the main thread. Too much (main thread) JavaScript can delay interactivity for visible elements. This can be a challenge for many companies. Why is JavaScript so expensive? So why exactly is JavaScript causing these problems? A request is sent to a server, which then returns some HTML. The browser parses that markup and discovers the necessary code (CSS and JavaScript) and resources (images, fonts etc) composing it. Once complete, the browser has to download and process these files. If we want to be fast at JavaScript, we have to download it and process it quickly. That means we have to be fast at the network transmission and the parsing, compiling and execution of our scripts. If you spend a long time parsing and compiling script in a JavaScript engine, that delays how soon a user can interact with your experience. Click the icon in the top right to enlarge Keep in mind that resources on the web have different costs. A 200kB script has a different set of costs to a 200kB JPG. They might take the same amount of time to download but when it comes to processing the costs aren't the same. A JPEG image needs to be decoded, rasterised and painted on the screen. This can usually be done quickly. A JavaScript bundle needs to be downloaded and then parsed, compiled and executed. This can take longer than you might think on mobile hardware. What is a good target for interactivity? We on the Chrome team feel your baseline should be getting interactive in under five seconds on a slow 3G or 4G connection on a median mobile device. You might say: 'My users are all on fast networks and high-end phones!' But are they? You may be on 'fast' coffee-shop Wi-Fi but effectively only getting 2G or 3G speeds. Variability matters. Click the icon in the top right to expand the image Mobile is a spectrum composed of low-end, median and high-end devices. If we're fortunate, we may have a high-end phone, but the reality is that not all users will have those devices. They may be on a low-end or median phone and the disparity between these multiple classes of devices can be stark due to thermal throttling, difference in cache sizes, CPU, GPU – you can end up experiencing different processing times for resources like JavaScript, depending on the device you're using. Your users on low-end phones may even be in the US. Some users won't be on a fast network or have the latest and greatest phone, so it's vital that we start testing on real phones and networks. Fast devices and networks can actually sometimes be slow; variability can end up reducing the speed of absolutely everything. Test on a real phone or at least with mobile emulation. Developing with a slow baseline ensures everyone – both on fast and slow setups – benefits. Click the icon in the top right to expand the image Checking your analytics to understand what devices your users are accessing your site with is a useful exercise. WebPageTest has a number of Moto G4 phones preconfigured under the Mobile profiles. This is valuable in case you're unable to purchase your own set of median-class hardware for testing. It's really important to know your audience. Not every site needs to perform well on 2G on a low-end phone. That said, aiming for a high level of performance across the entire spectrum ensures that every potential user accessing your site has a chance to load it up fast. Next page: Top tips for coding faster, lighter JavaScript Many small changes can lead to big gains. Enable users to interact with your site with the least amount of friction. Run the smallest amount of JavaScript to deliver real value. This can mean taking incremental steps to get there but, in the end, your users will thank you. Here's some advice for making that happen. Introduce code splitting Code splitting helps you break up your JavaScript so you only load the code a user needs upfront and lazy-load the rest. This helps avoid shipping a monolithic main.js file to your users containing JavaScript for the whole site versus just what the page needs. Splitting large, monolithic JavaScript bundles can be done on a page, route or component basis The best approach to introduce code splitting into your site is using the dynamic import() syntax. What follows is an example of using JavaScript Modules to statically 'import' some math code. Because we're not loading this code dynamically (lazily) when it's needed, it will end up in our default JavaScript bundle. After switching to dynamic import(), we can lazily pull in the math utilities when they are needed. This could be when the user is about to use a component requiring it, or navigating to a new route that relies on this functionality. Below we import math after a button click. When a JavaScript module bundler like Webpack sees this import() syntax, it starts code splitting your app. This means dynamic code can get pushed out into a separate file that is only loaded when it is needed. Code splitting can be done at the page, route or component level. Tools like Create React App, Next.js, Preact-CLI, Gatsby and others support it out of the box. Guides to accomplish this are available for React, Vue.js and Angular. If you're using React, I'm happy to recommend React Loadable, a higher-order component for loading components efficiently. It wraps dynamic imports in a nice API for introducing code splitting into an app at a given component. Here is an example statically importing a gallery component in React: With React Loadable, we can dynamically import the gallery component as follows: Many large teams have seen big wins off the back of code splitting recently. In an effort to rewrite their mobile web experiences to make sure users were able to interact with their sites as soon as possible, both Twitter and Tinder saw up to a 50 per cent improvement in time to interactive when they adopted aggressive code splitting. Audit your workflow Stacks like Next.js, Preact CLI and PWA Starter Kit try to enforce good defaults for quickly loading and getting interactive on average mobile hardware. Another thing many of these sites have done is adopt auditing as part of their workflow. Thankfully, the JavaScript ecosystem has a number of great tools to help with bundle analysis. Tools like Webpack Bundle Analyzer, Source Map Explorer and Bundle Buddy enable you to audit your bundles for opportunities to trim them down. Lighthouse runs a series of audits against a page and generates a report on it If you're unsure whether you have any issues with JavaScript performance, check out Lighthouse. Lighthouse is a tool baked into the Chrome Developer Tools and is also available as a Chrome extension. It gives you an in-depth analysis that highlights opportunities to improve performance. We've recently added support for flagging high JavaScript boot-up time to Lighthouse. This audit highlights scripts that might be spending a long time parsing/compiling, which delays interactivity. You can look at this audit as opportunities to either split up those scripts or just do less work. Check you're not shipping unused code Click the icon in the top right to enlarge Another thing you can do is make sure you're not shipping unused code down to your users: Code Coverage is a feature in Chrome DevTools that alerts you to unused JavaScript (and CSS) in your pages. Load up a page in DevTools and the Coverage tab will display how much code was executed vs how much was loaded. You can improve the performance of your pages by only shipping the code that a user needs. This can be valuable for identifying opportunities to split up scripts and defer the loading of non-critical ones until they're needed. Thankfully, there are ways we can we can try to work around this and one way is having a performance budget in place. Devise a performance budget Performance budgets are critical because they keep everybody on the same page. They create a culture of shared enthusiasm for constantly improving the user experience and team accountability. Budgets define measurable constraints so a team can meet their performance goals. As you have to live within the constraints of budgets, performance is a consideration at each step, as opposed to an afterthought. Per Tim Kadlec, metrics for performance budgets can include: Milestone timings: Timings based on the user experience loading a page (e.g. time-to-interactive). Quality-based metrics: Based on raw values (e.g. weight of JavaScript, number of HTTP requests), focused on the browser experience. Rule-based metrics: Scores generated by tools such as Lighthouse or WebPageTest; often a single number or series to grade your site. Performance is more often a cultural challenge than a technical one. Discuss performance during planning sessions. Ask business stakeholders what their performance expectations are. Do they understand how performance can impact the business metrics they care about? Ask engineering teams how they plan to address performance bottlenecks. While the answers here can be unsatisfactory, they get the conversation started. What about tooling for performance budgets? You can set up Lighthouse scoring budgets in continuous integration with the Lighthouse CI project. A number of performance monitoring services support setting perf budgets and budget alerts including Calibre, Treo and SpeedCurve. 4 quick ways to lessen JS load times Modern sites often combine all of their JavaScript into a single, large bundle. When JavaScript is served this way, download and processing times can be significant on mobile devices and networks. Here are a few tips for how to ensure you load your JavaScript quickly. 01. Only load the JS required for the current page Prioritise what a user will need and lazy-load the rest with code splitting. This gives you the best chance at loading and getting interactive fast. Learn to audit your JavaScript code to discover opportunities to remove non-critical code. 02. Optimise your JavaScript Use compression, minification and other JS optimisation techniques. Compression and minification are good optimisations for shipping fewer bytes of JavaScript to your users. If you’re already gzipping JavaScript, consider evaluating Brotli for even more savings. Building a site using Webpack and a framework? Tree shaking (removing unused imported code), trimming unused libraries and polyfills, opting for leaner versions of utilities all add up to some nice savings. 03. Assess the UX benefits If client-side JavaScript isn’t benefiting the user experience, ask yourself if it’s really necessary. Maybe server-side-rendered HTML would actually be faster. Consider limiting the use of client-side frameworks to pages that absolutely require them. Server-rendering and client-rendering are a disaster if done poorly. 04. Embrace performance budgets Embrace performance budgets and learn to live within them. For mobile, aim for a JS budget of < 170kB minified/compressed. Uncompressed this is still ~0.7MB of code. Budgets are critical to success; however, they can’t magically fix performance in isolation. Team culture, structure and enforcement matter. Resources Real-world performance budgets A deep-dive into why performance budgets matter. This guide by Alex Russell questions if we can afford all the JavaScript we load for users on median mobile phones given their impact on user experience. Reducing JavaScript payloads with code splitting A practical guide to reducing how much JavaScript you’re loading Webpack or Parcel. It also includes links to code-splitting guides for React, Angular and others. Reducing JavaScript payloads with tree shaking Tree shaking is a form of dead code elimination. This guide covers how to remove JavaScript imports not being used in your web pages to help trim down your JavaScript bundles. Lighthouse Lighthouse is a free automated tool for improving the quality of web pages by the Chrome team. It has audits for performance, accessibility and more. Pinterest case study Pinterest reduced its JavaScript bundles from 2.5MB to < 200kB and reduced time-to-interactive from 23 seconds to 5.6 seconds. Revenue went up 44 per cent, sign-ups are up 753 per cent, weekly active users on mobile web are up 103 per cent. AutoTrader case study AutoTrader reduced its JavaScript bundle sizes by 56 per cent and reduced time-to-interactive by ~50 per cent. This article was originally published in net, the world's best-selling magazine for web designers and developers. Buy issue 313 or subscribe. Read more: Revealed: The latest JavaScript trends 9 of the best JavaScript frameworks 25 game-changing JavaScript tools View the full article

Can you believe we're halfway through the first month of 2019 already? If you're feeling like time is passing you by, this creative trends report from Shutterstock should help you keep on top of what's going on in the world of design. In its latest annual report, the technology and stock photography company has analysed billions of image, video and music searches and downloads from its vast customer base. With this wealth of data, Shutterstock has been able to single out 11 styles that are set to influence and shape design throughout 2019. Top creative trends of 2019 From its research, Shutterstock predicts that the aesthetics of yesteryear are set to make a comeback. An '80s look of decadence and overindulgence is in, while cute kawaii illustrations and tempting typography are also due to hit the big time. It's not all nostalgia and retro fonts though, as trends like Beyond Plastic highlight urgent environmental issues. Each of the trends are backed up with some solid search stats, so you know that these are the terms that people crave. However three creative trends for 2019 stood ahead of the pack... 01. Yesterday's tomorrow What’s old is new again. This trend is an optimistic redux of early-tech – a focus on what yesterday’s tomorrow looked like. It’s all about the looks and sounds that defined futurism at the dawn of the digital age, like purple, blue, and pink duotone gradients, basic vector graphics, and dreamy synth music. 02. Zine culture In the digital age, zine culture lives on in the decentralised mindset of social media, where independent makers can share and niche groups can discover. Built on principles of collage and largely influenced by the invention of the photocopier, it’s paper cutouts, noise and grain textures, and rough-edged layers that define this trend. 03. '80s opulence The ‘80s is back and it’s ready to party with gold chains, animal prints, and attitude. We say forget good taste, this is about good times. Clashing is the keyword for this trend. Think leopard print and snakeskin, peacock feathers and gold chain belts, soft fur and hard metal textures. Shutterstock's creative trends report "Even the most talented creative professionals sometimes want a little inspiration for their next big project and our Creative Trends report is here to help," says Lou Weiss, global Chief Marketing Officer of Shutterstock. "With over 1.5 million fresh new assets added weekly and millions of searchers using our platform, Shutterstock has volume of search and download data to predict the hottest trends and newest fads being driven by the design world. "We can’t wait to see these 2019 design themes come to life everywhere, from ad campaigns, to the catwalk, and in movies. This year, our top three trends are influenced by the bold design principles of years past, so it will be particularly interesting to see how they evolve with modern interpretations best suited for today’s digital platforms." Check out the trends set to dominate 2019 with the report below. Click the image to see the full size infographic Related articles: 5 huge illustration trends for 2019 6 huge logo trends for 2019 4 huge visual trends for 2019 View the full article

Maybe your goal for 2019 is to find a job you love. And while crossing your fingers or praying might help – it might be time to take a step that could make your dream job a reality. The Resume Writing (CV) & LinkedIn Profile Optimization course serves as the perfect bridge to take you to your new life in your perfect gig. Though it typically retails for $199, it's available now for 94 per cent off at just $9.99. Let's face it, job hunting is rough. How many jobs have you applied to online, only to never hear back from anyone? This comprehensive course helps make the quest for a perfect job a little easier. Among the new skills you'll pick up in the 1.5 hours of instruction? Three unforgettable elements to use in your LinkedIn tagline, the highest value keywords recruiters are using to search and how to avoid your resume getting caught in the bots that are filtering out more than 70 per cent of current online applicants. Get lifetime access to the Resume Writing (CV) & LinkedIn Profile Optimization course for the low price of $9.99 here. Want your products featured in The Creative Bloq Shop? Learn more about how to sell your products online! Related articles: 5 things NOT to say in a job interview What are the best-paid creative jobs in 2019? 14 free resume templates View the full article

You're reading Top 17 Web Design and UI Trends for 2019, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! New year, new time to think about web design trends. The start of the year is a great time to look back on the previous year and your successes and look ahead to things that you want to improve and … View the full article

You're reading 15 Cool WordPress Themes You Should Use in 2019 For Your Projects, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! Before you even think about starting to design a website for your business, you’ll probably spend lots of time thinking about its overall appearance and functionality. Transforming your vision into reality is understandably the hard part. You have to think … View the full article

He said that similar flaws were also found in the Dreamhost, HostGator, OVH and iPage web hosting platforms. View the full article

Take our short poll to weigh in on the state of two-factor authentication. View the full article

Researchers created a proof-of-concept escape of Docker test environment. View the full article

Without servers, the internet as we know it couldn’t exist. But these machines have a lot to live up to, with expectations of maximum availability, minimum downtime and near-flawless performance. Thankfully, the latest generation of server hardware is now being combined with innovations in cloud infrastructure to provide exceptional reliability, while also enabling highly flexible approaches to server hosting in a wide variety of scenarios. Running 24/7, dealing with large numbers of users simultaneously, and routinely handling sensitive data, servers face far greater demands than desktop machines. And when these pressures prove too much for consumer-grade technology, high availability can only be ensured by enterprise-level hardware. Models feature the latest generation of Intel Xeon Scalable processors, for top performance and reliability Specialised processors, such as Intel’s Xeon family, offer more cores and bigger cache sizes than desktop CPUs, as well as support for very large quotas of ECC RAM. With models now featuring the latest generation of Intel Xeon Scalable processors, Fasthosts Dedicated Servers deliver the performance and reliability demanded by mission-critical applications. The newest storage technologies also bring major advantages to server use cases, with NVMe drives now accessing data up to six times faster than standard SSDs. In database-driven applications such as online shops with content-rich product details, the NVMe storage on Fasthosts Dedicated Servers helps to ensure a smooth and responsive customer experience. Custom configurations Obviously, hardware is a vital factor in server performance, but it’s not the whole story. With individual servers often working as nodes in a cluster, connectivity and the underlying platform make all the difference. Fasthosts allows single-tenant servers to be combined with virtual machines to create hybrid setups; 'virtual data centres' that provide custom configurations for specialised applications. An ecommerce platform, for example, could use load-balanced VMs to efficiently manage website traffic, and dedicated hardware to securely handle customer details. Fasthosts servers also benefit from the performance and security of UK data centres, and with unlimited bandwidth, there are never any worries about exceeding data caps. A flexible solution These innovations clearly offer advantages – but do they make server hosting any more cost-effective? The good news is that the flexibility of the Fasthosts platform also extends to pricing. Dedicated Servers can be provisioned in just eight minutes and shut down at any time, and costs are tracked on a per-hour basis. VMs can handle normal traffic levels, and be augmented with dedicated hardware when heavy processing is required Again, this flexibility enables custom configurations in different use cases: if demand is seasonal, VMs can handle normal traffic levels, and be augmented with dedicated hardware when heavy processing is required at busier times of year. For intensive tasks like image rendering and big-data processing, too, the option to run dedicated hardware in short bursts is highly beneficial. Server applications can be extremely demanding, both on the machines and the wider infrastructure. But by taking cutting-edge hardware and combining it with innovative cloud-based technologies, the Fasthosts platform enables Dedicated Servers to work harder – and smarter. For server customers, the result is a better experience for end users and a more successful online presence. To find out more, please visit the Fasthosts website. View the full article

Firefox 69 will force users to manually install Adobe Flash as the plugin inches toward end of life. View the full article

Preferences in user interface design shift and change all the time. In this article we take a look at the big trends that started bubbling up in 2018 and look set to explode this year – these are the themes you should be taking notice of. Due to the fast transformations in the mobile industry, the boundaries of mobile app experiences are constantly changing. We’re expecting to see even more amazing innovations that will influence mobile app design trends in the upcoming year. So without any further ado, let’s have a look at six hot UI trends to stick to this year, to help you learn how to create an app that's fit for 2019. For more predictions, take a look at our thoughts on the big web trends on their way. 01. Gesture-based interfaces In 2018, we saw a rise in 'edgeless' mobiles. Recent releases of buttonless smartphones from Google, Samsung and Apple will force mobile app designers to rethink their future creations. As well as offering a larger screen and more space for the interface to fill, the loss of buttons shifts the focus onto gesture-based interaction. There are plenty of in-app gestures that can significantly change mobile UI design, making it sleeker, more modern and more effective. The above GIF shows how an encyclopedia app uses gesture-based interaction (design by Tubik Studio). Currently, the vast majority of apps use in-app gestures to speed up common interactions. For instance, you can double-tap a photo on Instagram and Dribbble instead of pressing the 'Like' button. Where the gesture/response isn't well known, your users might benefit from adding a simple animation showing how the movement works as part of the onboarding process. 02. Face ID Face ID is another recent and noteworthy addition to the UI design toolbox. It was amongst the hottest trends of 2018 will continue to grow in popularity in 2019. While Face ID-ing is currently mainly used to enable users to unlock their phones without having to enter a PIN, we're starting to see designers incorporating this technology into their mobile apps, too. Above is the PaperFace app concept by Rashid Sharif. Do you remember all your passwords? With Face ID, there's no need to. Face ID offers an amazing opportunity for UI designers to smooth out the user flow and, used correctly, helps customers feel more secure. We predict that 2019 will see this technology being much more widely used, especially within ecommerce app design. 03. Neutral interfaces Lifenr takes a stripped-back approach to app design We're seeing a rise in graphic designers stripping away decorative elements within their apps until the user interface becomes almost invisible. Content-first layouts help focus the user's attention and enable them to consume the content without being distracted. While neutral interfaces bring a lot of benefits, they also pose a challenge for app designers. The main issue is that such interfaces look very similar to one another, and it becomes harder to create a truly memorable experience. Smart use of typography is one way to overcome this issue and help give a pared-back app more personality. 04. Animated visuals According to Prezi's 2018 State of Attention report, our ability to maintain focus has actually improved over time, but the audience has become more selective in the content they choose to consume. One way to ensure your audience stays engaged is through clever use of animated visuals. The use of video on social media perfectly exemplifies how animated visuals can replace written content. Short and precise videos can retain people's attentions more easily than traditional written content, while still offering plenty of information. Mobile UI designers can tap into this theme to help keep their audiences engaged. Using videos or animation you can demonstrate new app features, show how to do a certain task, or convey other important information effectively. For inspiration, take a look that the explainer video of Swiss Fin Lab design by FireArt (above), or explore these CSS animation examples. 05. Chatbots Shojol Islam's design for an AI-powered ecommerce chatbot, E-Bot Picture this: your prospective customer is about to make a purchase, but needs your help. It might be quite difficult for a user to find the 'Contact us' button. Moreover, waiting for the answer from customer service can easily become a major barrier to a sale. A good conversational design, which takes advantage of artificial intelligence, can have a serious impact on conversion rates. The way a chatbot looks in your mobile user interface can vary, and it’s generally a matter of overall design. However, when implemented properly, it can improve the user interface tremendously. Keen to get started? Read our tutorial on how to build a chatbot interface. 06. Augmented reality 2019 will require UI designers to think outside the box – or rather, the grid. Your UI might not be fixed to a screen any longer. Progressions in augmented reality mean your users could be interacting with the real world via your interface. It is now possible to use AR to create functional UIs that allow customers to try furniture out before buying it, for example. Or, imagine, your mobile app lets users try on clothes to see how they’d look before purchasing. Augmented reality may become a perfect tool to make the online shopping process even more interactive. Above you can see a Nike AR Concept by Kelly Wagnac. Augmented reality isn't a new trend, but it's not going anywhere. Read more: Add UI animations to your site The pro's guide to UI design 10 tips for better mobile UX design View the full article

If you could create an invention that would make the world a better place, what would it be? Boring old adults would probably whip up something terribly sensible like a water purifier or a nuclear missile deterrent. But when The UK Domain asked primary school children to doodle their ideas, they came up with some wonderfully imaginative and innovative contraptions. These inventions, including a Gun Sucker Inner and a Rubbish Eater that poops trees, have been turned into polished illustrations by The UK Domain. We love that these doodles show that you don't need to know how to draw or think like an adult to come up with brilliant ideas. And although these creations might seem whacky on the surface, they're not too far off real life inventions. Take Olly the Ocean Organiser, designed by Daisy, aged 9. Equipped with sensors that detect ocean rubbish and a propellor on its head to fly about, this machine is similar to the non-profit Ocean Cleanup organisation, which uses advanced technology to get rid of plastic in the world's oceans. Check out the doodles and the illustrations they inspired by clicking left to right in the image galleries below. "It's fascinating to see the creative and often thoughtful way that children see the world," says Helen Tomes, the director of marketing at The UK Domain. "We wanted to give the founders of tomorrow a platform to show us what they think of the world today." Maybe we could all take some inspiration from these drawings and start letting our imaginations run loose when coming up with problem-solving concepts for clients? Have a look at the full selection of inventions by heading over to The UK Domain's Future Founders page. Related articles: Doodle art: 52 great examples The best children's books of all time Spot your cartoon favourites in this CMYK celebration View the full article

Founded in London in 1975, Games Workshop has grown into a very big business. The firm best known for tabletop strategy games like Warhammer: Age of Sigmar and Warhammer 40,000 recorded a £1 billion market value during June 2018, and expects its profits to double this year. That’s due, in part, to the hard work and commitment of its dozens of talented artists. But that doesn’t mean it’s a stressful studio with constant deadlines to meet. “The environment is really informal, really relaxed,” says Dave Ferri, a concept artist who’s been with the company, now based in Nottingham, for about two and a half years. “It’s a very friendly atmosphere here.” Art techniques: top tutorials for painting and drawing Ferri works with two other concept artists, John Blanche and Tom Harrison, to create the 2D illustrations that inspire the digital 3D art sculptors – 29 of them in total – who lovingly craft and produce the figurines. And there’s always work to do, says design manager Sam Dinwiddy, because the company is constantly developing new lines and doesn’t want to rest on its laurels. Sketch for the Death Guard. “We try to provide the designers with a wealth of ideas,” says artist Dave Ferri “We’re always looking to excite our customers with something new,” Dinwiddy says. “We don’t just want to run through the list of ranges and update them all. That wouldn’t excite anybody. So we need to create stuff that’s unexpected, but still steeped in Games Workshop’s heritage.” That creation process often starts with a simple sketch, says John Blanche, who first began freelancing for Games Workshop in 1977 and went on to spend three decades as its art director. “Sometimes the designers like the sketch so much, they’ll actually make an image of it, but that’s unusual. I’m opening the doors up for sculptors to go: ‘Oh yeah, we could do that.’ It gives them a route to go forward.” Concept sketch for the Endrinriggers: soldiers with back-mounted machines for flying, as well as tools for airborne repair While Blanche works with physical inks and paints, Ferri creates most of his work in Photoshop CC on a Cintiq. “But the medium itself isn’t important,” says Ferri. “At the end of the day, the idea is what matters.” Typically, that design gets passed back and forth between concept artists and product designers in a process of re-invention and refinement. “It’s very organic and collaborative,” says Blanche. “We’re led by enthusiasm and deep understanding of each others’ backgrounds; it’s like one big family.” Open and willing attitude There are no ‘silos’ at Games Workshop, adds senior designer Seb Perbet. “One of the things that surprised me most was how open and willing people were to share their knowledge. I think it comes from the fact that we love this job and like talking about it.” Concept sketch of Belisarius Cawl. “We pull from different historical things and mash them into something new,” says Ferri For the digital sculptors, Perbet explains, developing the miniatures is not just a technical challenge but a creative one, too. “I think the best product designers don’t separate these two aspects: the creative mind is the one suited to solving the hardest technical problems. So for me it’s hard to distinguish between the two, because as I’m sculpting I’m deciding what it is I want and how it’ll be manufactured at the same time.” Even the 2D concept art needs to be approached with the physical end goal in mind. As Ferri points out, “These products are physically very small, and you can’t get a lot of detail in there. So our concept art needs to be bold and graphic, and most importantly, based on strong shapes." Balancing the details “That’s the hardest part: taking away the tendency to draw too much and strip it down,” Ferri continues. “You need to make the shapes interesting, because that’s where the product will succeed. So it’s important when you’re drawing something to stand back a few feet and have a look. Can you still see the details? Does it still read as you wanted it to? If not, you’ve probably made it over-complicated.” And if you’re a fan of Games Workshop yourself, then here’s some good news: the company’s hiring. “Finding good artists is difficult, because it’s so niche,” says Dinwiddy. “So we’ll always look at portfolios and we’ll always listen to people; the only thing that we can’t guarantee is a job at the end of it.” Although the artists and designers chat day-to-day, they also have regular meetings to get feedback on each others’ work There’s no particular qualification or software skill that you need to have, Dinwiddy adds. “It’s literally just: do you have an affinity with sci-fi and fantasy? Can you generate fantastic, original and unique ideas quickly and consistently, in high quality? And do you have the passion to develop new IP for a niche business?” If the answer to all those questions is yes, then you may get the chance to work in an environment where artists are constantly brimming with enthusiasm. “There’s always a good buzz in the studio, and we’re all really excited when new models come out,” says Dinwiddy. “I still get that ‘I want these!’ feeling, like I’m a little kid all over again.” This article was originally published in ImagineFX, the world's best-selling magazine for digital artists. Buy issue 166 or subscribe. Related articles: How to be a better concept artist How to create stylised game artwork Why 2D artists need to learn 3D View the full article

When it comes to tying the knot, there's a lot of stress to make sure that every single detail of the wedding day is absolutely perfect. With so much to decide and keep track of, choosing the best font for your invites and place settings can often get pushed down the list. This shouldn't be the case – after all, you want something tasteful but not too bland, that ties in with the look and feel of your wedding. To make life easier for those organising the big day, we've put together a list of 10 wedding fonts that are sure to impress friends, family, and even the in-laws. Simply download and type away for gorgeous wedding paraphernalia. Some of these fonts are paid-for while others are free, but if you're after solely free fonts, then take a look at our list of best free fonts for designers. 01. Monstice Format: OTF, TT Price: From $24/£15.99 per font Buy Monstice Monstice is an elegant, decorative font family made up of five different variants: Base, Engraved, Inline, Hatched and Emboss. Any one would be ideal to add a touch of playful grandeur to your wedding stationery. You can also customise this wedding font with a range of OpenType features including swashes, ligatures and alternates. Pick up the full set for $60/£40.99. 02. Olivia Script Price: Free (personal and commercial) Download Olivia Script If it's a whimsical, romantic look you're after, look no further than Olivia Script. The designers describe it as a 'a modern calligraphy typeface', and it comes complete with 351 glyphs. This graceful wedding font is free for both personal and commercial use, and you can download it from The Font Bundles Store. 03. Paper Format: OTF Price: Free (personal use) Download Paper This charming font was made by Behance user Amy Cox. Every single letter has been cut out with real scissors to produce a quirky wedding font complete with filled-in counters. With its resemblance to confetti shapes, this playful font will add a dash of personality to any wedding ceremony. Download it free for personal use from Cox's Behance page (affordable commercial licenses are available too, wedding businesses will be pleased to hear). 04. Limon Format: OTF Price: $49/£32.99 (one font) Buy Limon Thanks to its fluid shoulder shapes and squiggly lobes, Limon is a zesty font that would be perfectly suited to a spring or summer wedding. Hand-drawn by Sabrina Mariela Lopez, this detailed wedding font took 18 months to design. The hard work has paid off, though, as Limon looks stunning. You can pick up a single font for $49/£32.99, or grab all 16 variants for $179/£128.99. 05. Blend Format: OTF Price: From $19/£12.99 per font Buy Blend In the world of coffee, a blend is a mix of beans that work together to produce a balanced taste. The creators of this font have applied the same logic to typography, and the result is a bouncing informal script that would look right at home on invites and table settings. The full set comprises 21 fonts – pick just the ones you want, or download the full set for $159/£107.99. 06. Guess Format: OTF Price: From $30/£19.99 per font Buy Guess Fun fonts are all well and good, but what if you need to impress the grownups? Don't panic, Guess could be just what you're looking for. This versatile and elegant wedding font is packed with class and style that's sure to draw admiration from even the most picky of guests. Designed by Veneta Rangelova, you can download the 16 fonts in this set for $150/£101.99. 07. Goodlife Format: OTF Price: $30/£20.99 per font Buy Goodlife Speaking of versatile fonts, the Goodlife family includes seven different styles that are "optimised to feel not just like a font but like true hand lettering". Designed by Hannes von Döhren (not Tom and Barbara from the BBC series), Goodlife is capable of handling the most complex typography challenges you can throw at it. Get your hands on the seven Goodlife fonts for $99/£70.99. 08. Burgues Script Format: OTF Price: $99/£74.99 Buy Burgues Script Sometimes you just need to play it straight and go for a font that turns the classy up to 11. Burgues Script does just that, and designer Alejandro Paul delivers a flowing font inspired by the 19th century calligrapher Louis Madarasz. 09. Storyteller Format: OTF Price: From $15/£11.99 per font Download Storyteller Script fonts really are the order of the day at weddings, but Storyteller delivers a playful variation on the theme. This family contains 33 fonts in total, and each one has been lovingly handwritten, hand-traced and developed by designer Elena Genova. Compatible with any software, this family is topped off with ligatures and contextual alternates. Download the full set for $149/£103. 10. Felt That Format: OTF, TT Price: $40/£26.99 Buy Felt That Looking for a script font that's stylish but still has its feet on the ground? Meet Felt That, a family that was hand drawn with a bullet-tipped marker by designer Jess Latham. It might be more straightforward than some of the more whimsical entries we've seen, but that doesn't mean that Felt That hasn't got an appeal all of its own. Download the single wedding font for the bargain price of $40/£28.99. 11. Bambusa Pro Format: OTF Price: From $19/£12.99 per font Buy Bambusa Pro Described as a "sturdy expressive modern calligraphy family", this set of four fonts has a unique ink-stroke aesthetic that comes from the Bambusa bamboo pen that designer Hanneke Classen used to make it. This distinctive font could give wedding messages an exotic twist thanks to its unusual spacing, accented characters and Ornaments (a set of twirly glyphs). Download the four fonts for $49/£34.99. 12. ITC Edwardian Script Format: OTF, TT Price: $35/£30 per font Buy Edwardian Script Finishing off our list is ITC Edwardian Script, a straight-down-the-line wedding font that doesn't skimp on character, designed by Edward Benguiat. Flaunting its flourishes in every letter, this family of four fonts is a safe choice if you want to give your wedding invites a touch of class and sophistication. Related articles: 50 best free fonts for designers 5 principles of design illustrated 10 fancy fonts to give your work a touch of class View the full article

You're reading Postcards Introduces Transactional Email Modules, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! Today, we released newly designed transactional modules for Postcards. We designed and coded 26 absolutely new modules! You can start using them directly in the Postcards App now. View the full article

Whether you're working from home or in a studio, as designers and artists, we often spend long hours sat at a desk and staring intently at a monitor screen. We'll assume you know about taking regular screen breaks, but workplace wellness involves more than having a rest. With that in mind, we've put together an infographic containing 10 simple desk exercises so that you can make sure you remain limber in your studio. Click on the image to see the full-sized graphic, and feel free to share it with your colleagues on Pinterest! The best infographics around Click on the image to see the full-size infographic Illustration: Simon Middleweek Read more: 17 incredible tools for creating infographics 6 ways for designers to stay healthy Keep your hands in shape with this infographic View the full article

A penetration testing tool called Modlishka can defeat two-factor authentication in the latest 2FA security issue. We asked a roundtable of experts what it all means. View the full article

If you’re new to CGI, you may feel that there are far too many tools to choose from in a dizzying array of software. By breaking everything in CGI down, I want to arm artists with the knowledge of which tool is best. With this in mind, let's explore materials and shaders by looking at bump and displacement maps. But first, let's look at why these maps are different to normal maps. What's the difference between bump maps and normal maps? In a previous article I looked at normal maps, which are a type of image map used to add extra detail to your models. There are other image map types for adding details and relief to your 3D art: bump and displacement maps. These both use black and white imagery to create relief data for a model, making bump and displacement imagery far easier to create and manipulate in any 2D painting application when compared to the complex three-colour arrangement of normal maps. The differentiation between bump and displacement maps is in how they display the relief. 27 free 3D models How does bump mapping work? Bump maps are one of the oldest form of image map types (normal maps are derived from bump maps), and have been used for decades to add surface relief to models. Bump maps are not very resource-intensive, making them a popular choice for a wide range of relief work. The catch with bump maps is that they cannot render corner or edge detail, which makes them problematic in certain situations, for example adding brick detail to a corner edge. Bump maps are by far the easiest type of relief image to manage as they work with practically any surface, no matter the geometry. What does a displacement map do? Displacement maps, although they can be derived from the same type of image as a bump map, are much more powerful. They can truly deform geometry up to and including edge detail, making them ideal for a much wider range of uses such as terrain creation (sometimes a displacement is called a height map for large-scale deformation) and detail modelling. The reason that displacement maps are not as commonly used is that they can be computationally intensive and they tend to like high-resolution geometry to work with, which can make them less than ideal for some tasks. Either way, understanding bump and displacement maps will enable any artist to add detail to their models more quickly and intuitively than through other image-based methods. When to use a bump map A bump map modifies the surface of a geometry At its simplest, bump mapping only modifies the surface of a piece of geometry, whereas displacement mapping is actually altering the geometry. Bump maps are great at adding a lot of low-relief detail on low-polygon objects, so a one-polygon wall could show hundreds of bricks thanks to bump mapping. It can be an issue when edge detail needs to be shown, as bump mapping does not work with side detail – it only shows the true underlying geometry. When to use a displacement map A displacement map alters the geometry itself Displacement maps are a hugely powerful technique as they can intuitively allow model detail to be added with a simple greyscale image. A perfect example is when they are used as a simple method of creating the height data for a landscape. As displacement maps (also sometimes known as height maps) are modifying the underlying geometry, they need higher-resolution meshes to work with than bump maps, which can make them slower to work with. But they can produce stunning results. Combine maps Combine both maps to add a true relief Bump and displacement maps can be used in conjunction with one another. For example, when using displacement maps to add true relief to a landscape, a bump map can be used to add additional noise to the surface. This takes some of the computational weight away from the displacement map, allowing faster performance for negligible image loss. Understanding the properties of when and where to use bump and displacement maps can radically improve models and scenes. Height differences between maps Be sure to double-check displacement maps brought in from external software Both maps display height differently because of the underlying science behind each. However, this can also be true of the software being used. Displacement maps especially should be double-checked in the final render software when brought in from an external painting programme or other render software; there can be differences between how they are displayed, especially with different levels of geometry. Never assume anything until it has been tested for the specific scene or model required. Create your own bump and displacement maps Map colours help to denote height and depth One of the best things about bump and displacement maps is that visually they make sense, with white areas usually denoting the highest areas, black the lowest and 50% grey equalling no change. This means that while there are applications like Bitmap2Material that can make a good guess at creating relief, it is sometimes better to use a 2D image application. Using a high-pass filter can be an excellent way to get started in creating a relief map which can then be painted into using traditional 2D painting techniques. This article was originally published in issue 238 of 3D World, the world's best-selling magazine for CG artists. Buy issue 241 or subscribe to 3D World here. Related articles: Model luminous 3D surfaces with these texture tips Become a better 3D artist The best new 3D tools for 2019 View the full article

There are many aspects to consider when tackling a painting, both technical and fundamental. What I don’t often hear about are the minor tactics that help elevate the art-making. In this workshop I’ll focus on techniques that aren’t emphasised, particularly ones pertaining to works made with acrylics and coloured pencil. Having an understanding of the basics is important, but it’s the tiny nuances that will distinguish your work. I’ve been working professionally as a freelance artist for about a decade now, and I’d like to share with you the essential tidbits I’ve learned along the way, including how I capture the natural glow of skin with acrylic glazing and wax-based pencils. In addition to sharing my painting techniques, I’ll explain what to do once a painting has been completed. Finding suitable frames and scanners are key components in preserving your art for the years to come. Every artist has their personal art-making tactics that they develop over their years of experience, so keep making art, learn, grow, grow some more, share what you’ve learned, and keep the inspiration cycle going for others. 01. Focus on the outline Try outlining in a colour other than black A common mistake that people learning how to draw make is paying too much attention to the form within the lines of an object, rather than looking at the line itself. Edges are made of coloured lines and tend to be high in chroma. Instead of contouring objects with black lines, try using something with medium to high chroma. For skin, outline the figure with Terracotta and this will give it that natural shimmer. To give objects that are catching light – for example, a blue rooftop on a sunny day – trace its rim with a True blue coloured pencil. This is also a great way to establish your focal points. The vibrant outer edges help to advance the element to the foreground and draw the viewer’s eye. 02. Create colour harmony Tone your paper with light washes to achieve colour harmony When working with an extensive colour palette, it’s easy to let it get out of hand, resulting in a gaudy painting full of dissonant colours. A great solution for this is to harmonise your palette by toning the paper with light washes of paint. After I’ve transferred my drawing on to hot press watercolour paper, I make a mixture of Brilliant blue and Cadmium red paint, and apply a few thin washes of it. The paper is now a few shades darker with a purple tint to it. Subsequent layers of colour will react to these initial washes, and by sharing this commonality, will yield a more cohesive palette. 03. Capture organic shapes Let edges bleed into each other for an organic look Water-based paint such as acrylics are ideal for capturing organic shapes, including clouds, foliage and fabric. Objects that tend to have a lot of billowing texture can be intimidating, but you’ll come to learn that the water does most of the work for you. You just have to be fearless and let go of that innate control that lives in all of us. When rendering these shapes, allow the paint washes to find the forms for you. Be loose with the control of your brush and make strokes that are haphazard and unplanned. Let edges bleed into one another. The less control you have, the more organic the outcome will be. 04. Don't treat your brush like a pencil Don't be too precise with your brush strokes An old bad habit of mine was treating the brush like a .05 mechanical pencil. I would execute each paint stroke with precision and end up with static movement in my figures and their attire. To achieve fluid, organic shapes and gradients, hold your brush loosely and use the full motion of your wrist. Execute your paint strokes by turning the belly of the brush at extreme angles. Don’t dab unless necessary. You can also vary the softness of the paint stroke’s edge by doing this. 05. Use white paint sparingly For some skintones, you can use the white of the paper instead of paint Most of the whites in my paintings are made of the natural white of the paper. On occasions, I’ll use Titanium white to highlight, but it’s used sparingly. I find that white paint comes across dull: although it’s light on the value scale, it’s low in vibrancy. I recommend that you plan your painting ahead of time, determining the placement of the highlights. For example, the shine on the female’s cheekbone is kept untouched, along with the highlights on her nose and chin. 06. Get the right pencil for the job Make sure you're using the right pencil for the right part of your work I use two different types of coloured pencils, both wax-based. The Prismacolor Premier pencils are opaque in colour and possess a creamy texture. They have a soft core and will repel water, so are only used at the end of the painting process to fix mistakes and finalise solid shapes. The Prismacolor Verithins are made of a thinner, harder wax lead that are most suitable for clean lines and fine details. They tend to be water-soluble, and thus work well with acrylic washes. The Verithins are great for pushing dark values that I find difficult to achieve with acrylic washes and sharpening lines, like the edge of an ear lobe. For more advice on different types of pencil, see our post on the best pencils for colouring, drawing and sketching. 07. Transfer your sketches Lighten your sketch to prepare it for transfer There are different options available when transferring a sketch, either with a projector, light box or my personal favourite, a large-format printer. When transferring via projector and light box, I lose the dynamism that lives in the original sketch. By printing the sketch directly on to the watercolour paper with archival pigments, you can preserve the spirit of the lines as well as saving yourself hours of work. To prep your sketch for transfer, make sure you lighten it so that it’s only barely visible – it’s meant to serve as a blueprint, after all. Afterwards, you can redefine the lines by tracing it with coloured pencil. If you're not sure which printer to go for, see this post on the best printers. 08. Use iridescent embellishment Add something extra with embellishments To add an extra layer of dimension to your work, embellish it with an iridescent quality. Gold leaf and Pebeo Paints are a few ways to give it distinction, and collectors tend to gravitate towards these. Having that extra touch of authenticity is highly sought after. Before applying the embellishments, prep your painting by adding a layer of matte medium. This acts as an isolation layer and protects the painting. It also gives the surface a bit of tooth. For Pebeo Paints, which is an oil-based iridescent medium with an enamel texture, use a pipette to leave drops of shimmery gold to your finished painting. Make sure to let it dry for at least 48 hours, especially if the application is thick. 09. Add glazes The wet-on-wet method was used to create the horse's texture Rendering with acrylics is a slow process for me. I work from light to dark with diluted washes of paint, a technique called glazing. By overlaying layers on top of each other, value is darkened and form is created. A painting usually consists of 50-80 glazes, applied with different watercolour techniques. For broad areas where a soft edge is needed, like a horse’s muscular texture, use the wet-on-wet method. For finer details that need crisp edges, like a ribbon, use wet-on-dry. 10. Blend paint strokes Blending is key to creating a smooth gradient Paint strokes can generate a painting wonderful texture, but there are times when you might prefer to develop a smooth gradient in your artwork. To blend paint strokes, I recommend heavily diluting your paint with water and executing with a light touch. Don’t go heavy with the application and be patient as you build value on the paper. Overlaying glazes upon glazes of paint on top of each other will slowly smooth out the strokes, much like an iron set on a low heat. If the paint strokes are still unyielding, use a pencil in a neutralising colour to gradually blend them away. 11. Treat acrylics like watercolour You can achieve a lot of different techniques with acrylics Acrylics are one of the most versatile water-based mediums. Because of this, I can treat them like watercolour, diluting and blending strokes. Unlike watercolour, there’s a higher level of permanence in the pigment so it doesn’t enable you to lift colour. I prefer this since I’m able to achieve a wide range of value changes. Like watercolour, you can tint certain areas to add slight colour changes. By mixing a few drops of Golden High-Flow acrylics with water, you can bring subtle hints of warmth to a figure’s cheeks. 12. Digitise your painting A lot of young artists don’t prioritise the importance of digitising the finished painting for future usage. It’s key to have a high-resolution digital scan of the final so it can be used for promotional purposes, Giclée prints, licencing rights and more. For works in watercolour, I recommend using a Cruse scanner. Access to one can be difficult, but try calling your local fine art or large-scale printing company and you may be in luck. It scans the painting without touching the art and is able to capture the nuances of the paint strokes without grainy reflections. If you don’t have access to one, an Epson 11000XL is a great second option. 13. Add a natural edge A torn edge adds authenticity to your work A great way to apply more authenticity to your original piece of work is giving it rough-cut, deckle edges. An easy way to do this is by using a straight-edge ruler to tear your watercolour paper edge as oppose to cutting it with an X-acto knife. It distinguishes the painting as an original piece of artwork and makes it available for unique framing options. 14. Frame the finished piece Watercolour paintings work well in shadow box frames Painting on watercolour paper has perks. Because it’s paper, you can frame it so that it’ll showcase its natural deckle edges. A wonderful way to frame artworks on paper is by top float-mounting it in a shadow box-like frame. The painting is adhered on top of archival foam board to make it appear as if it’s suspended in air, with space between all sides of the paper. In my example, I chose a white wooden frame with two-inch rabbet height. To have the painting float-mount like this, you’ll need ample depth for all of the different framing components including the glass, mat boards and backing. This article originally appeared in issue 166 of ImagineFX, the world's leading magazine for digital artists. Buy issue 166 or subscribe. Read more: A beginner's guide to watercolour brush techniques How to create glazes with watercolour How to draw: the best drawing tutorials View the full article

When it comes to failed new year's resolutions, learning a new language is up there with attending the gym regularly and staying sober in January. To keep multi-linguists in the making coming back for more, freemium language-learning platform Duolingo has mastered the art of emotional manipulation with Duo, the green owl mascot who has a reputation for keeping users in check. Duo, along with the rest of the tool's layout and design, has been given a refresh for 2019 that aims to make the website and app more consistent and engaging. With the likes of Instagram and Twitter offering easy distractions from language study, Duolingo has also borrowed heavily from the gamification playbook. The new Duolingo mascot goes back to a symmetrical design The redesign – including the new logo design – was created by Duolingo's in-house team, and is the biggest update to the tool in five years. Duo's design has been simplified to make it easier to animate and the entire interface has been given a more cartoony refresh. Regular and intermittent users of Duolingo will already know that it relies on gamification. Heart bars encourage you to get an answer right and maintain a winning streak, while the Duo mascot helps to build a more personal attachment thanks to his reactions to user activity. Practise regularly and Duo will be overjoyed, skip a few sessions and he'll soon whip out the waterworks. The refreshed platform includes updated mascots and icons For its latest iteration, Duo has been brought to life with more positions and animations to get the most out of his connection with audiences. A closely cropped profile of his beaky face has also been used for the Duolingo app icon to really cement the connection with mobile games. Speaking to The Verge, Duolingo's head of design, Tyler Murphy, explains why Duo is being preened into the platform's version of a gaming mascot. "Games have this unique ability where you get really attached to their character. That’s why they can keep releasing new games with that same character, and people will rush out to buy them." The new Duolingo app icon is designed to resemble a game For a mascot that has gone on to inspire memes, it's fitting that Duo started out as an act of trolling. He's an owl because the bird is associated with knowledge, however his distinctive green plumage was a joke aimed at Duolingo co-founder Severin Hacker. After Hacker specified that anything was fair game for the mascot except the colour green, the creative team found the bait too hard to resist and made Duo green as a joke. It's a choice that seems to have paid off though. The green colouring makes Duo stand out, and it helps to make the platform feel even more like a computer game than an educational tool. The Duolingo team refreshed the tool's various screens so they look more consistent Duolingo currently has roughly 300 million registered users and offers 81 different language courses. Some users saw the updated app and mascot roll out at the tail end of 2018, while everyone else can expect to see the spruced up platform very soon. Related articles: The best logos of all time 6 huge logo trends for 2019 5 logo design terms you should know View the full article

If you've ever wondered how people make a living from YouTube, and wish you could do the same, you're in luck. You can get started with the Ultimate YouTube Master Class Bundle. With 28 hours of training, you'll learn how to steadily build your brand and a career on one of today's most popular online platforms. Find out how to start a channel, how to monetise it, and how to gain a loyal following. You'll also learn important shooting, editing, and marketing techniques that will ensure high production value and lots of eyeballs! Get Ultimate YouTube Master Class Bundle while it's on sale for just $29 – that's 97 per cent off the regular price. Related articles: The best computers for video editing in 2019 The best video editing software in 2019 The best memory cards for your camera View the full article

You’ve shot some quality video footage and so now it’s time for the fun part, the part where you get to fully unleash your creativity: video editing. However, if you’ve never tackled it before, editing video can be a daunting task. But never fear, creating quality videos is easier than you might think. Whether you’re new to the world of video, a creator of social videos, a professional video editor or a prosumer who needs easy-to-use video effects, Filmora9 is a video editor designed for all types of creators and skill levels. Feature-rich, including full 4K support and endless video effects, Filmora9 will enable you to create professional-looking video with speed and ease. Here are five essential video editing techniques to help you get started: Match Cut A match cut is very similar to a standard cut (when you cut from one clip to another without any transition), the difference being when you cut between clips, the subject matter in both match. It’s an editing technique which, done correctly, can really elevate a production. Watch the above video to see how effective a match cut can be. J or L cut Two common but powerful video editing techniques are J and L cuts. The J cut is when the viewer watching clip A hears the audio from clip B before seeing clip B. This audio transition is a great way of playing with the viewers senses before they see any visuals. Contra to the J cut is the L cut, which works on the same principle, only mirrored. With an L cut, the audio from a preceding scene continues to play over footage from the following scene. Discover how both J and L cut works in the demonstration above. Montage A montage is a video editing technique that signifies the passage of time, a flashback or an artistic compilation of imagery, often underscored with music. The above ‘Emotions’ video montage by Lindsay McCutcheon is a great example of how powerful this simple but effective editing technique can be. Whip Pan A whip pan is actually a camera technique, whereby the camera literally whips from one direction to another, causing a blurred shot to be created. This type of shot can then be used as an unbroken means of transitioning between two clips. Whip pan transitions are a great way to indicate the passage of time or create an atmosphere of frenzy and disturbance, as demonstrated perfectly in the above scene, again from Hot Fuzz. Sam Kolder transitions Sam Kolder is a travel influencer and a filmmaker and he’s known for his epic travel videos. He’s also known for his unique signature style, like zoom transitions. Filmora9’s toolset includes a variety of transitions to choose from, including ones inspired by Sam Kolder himself. Find out how they work, and how you can create them in your own projects in the video above. Now we’ve covered some essential video editing techniques, you can get started on your own video projects. Need some extra help? The Filmora YouTube channel has lots more video editing tips and tricks to guide you in the right direction. Filmora9 is available for Mac and Windows and is priced at $59.99 for a lifetime license or $39.99 for one year. Find more information and sign up here. View the full article