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Creating costumes for a fantasy character design requires a lot of research: there are many questions to answer before you even begin your painting process. Skimp on this stage and your clothing ideas become little more than eye-catching concepts. I was recently asked to work on Hellboy: Rise of the Blood Queen. I presumed that it would be creatures, antagonists and mutants, as is normally the case in my dark corner of conceptual art. To my surprise, the commission was for pure costume design. I love a challenge, so I embraced it, but I had to adapt quickly. Costumes have always played an important role when concepting characters; they add to the visual tone. Costume design is a different discipline, but all characters need clothes, so how hard could it be? Turns out it requires far more precision and a hell of a lot of research. Here, I’ll share with you my findings, work process and tips that will help the development of your characters’ costumes. I’ll be focusing on two costumes created for one character: a standard costume and a battle armour version. Let’s suit up. 01. Outline your character's story Research helps different costume elements to work together Who is your character? In my piece she’s the captain of the royal guard in a fantasy world. A young princess, a warrior, a rebel. For her costumes I want to first present a formal/military outfit with the basic armour tech on show, and for the second, a battle-ready armoured uniform. I want them to work in unison and the armour to be a key feature in both designs. She has to be edgy and have attitude. I collect references of faces and costumes, and create a series of mood boards. 02. Reflect the world she lives in A rough mock up helps to establish the tone of the piece This is a large part of the research phase. You have to understand the world that your character inhabits. In this instance I’m going for a futuristic world with a slight Renaissance vibe, so of course I’ll need to show this in the design. I look through some of my older pieces to help me develop a starting point. I’m not looking to get down pose or detailing ideas – just the general tone of the piece. 03. Consider tone and presentation Previous works help to give an idea of how background elements could function Decide on the right tone and maintain it throughout the design. A good way to do this is in the presentation style. I’m going for a semi-retro look: a pale beige background with a border. It helps to sell the tone from the outset, while ensuring your costume design is front and centre. I’d refrain from using any imagery in the background, although an exception would be a close-up of the character’s head, such as in this earlier piece of mine: Evil Lyn from Masters of the Universe. 04. A question of pose Choose a pose that shows off the costume to maximum effect You’ll need to pose your character so that the costume’s clearly shown, but don’t make the stance dynamic. The goal is to present the detailing of the costume, not create a character illustration. I often choose a simple fashion model pose. Look at fashion magazines and collect online gallery stills of fashion models in action. There are plenty of fashion croquis (quick sketch) templates available online, too. 05. Everything starts with a sketch Sketches help to establish the shape of the clothes I concentrate on lines that represent folds in any fabric, and create interesting shapes and patterns. For example, the V-shape in her armour is repeated in her dress and overcoat. I keep these initial sketches simple, and focus on flowing lines and blocks of colour. 06. Be inspired by your materials Test out swatches to see how the finished costume could look As a concept designer, you don’t really think too much about materials, fabrics or indeed how an actor would wear an outfit. But as a costume designer often your ideas come from a particular type of material, so keep that in mind when you’re sketching. Create mood boards and place images of materials next to your design elements. Then explore different variations, colours and textures. 07. Don't overlight the design Go against your artistic instincts and lose the shadow On a standard character illustration I’d place a third of the figure in shadow to add more depth. I’d also add elements of dynamic lighting, and blur parts of the scene to enhance the mood. However, for costume design art you should forgo the shadows and keep the lighting to a minimum, to clearly show off the outfit. This might go against your instincts as an artist – the figure might look flat, like an unfinished painting – but resist the urge to properly render the scene. If you do, you’ll only dilute the message that the design is trying to communicate. 08. Keep things clear and defined Strong designs are easy to imitate Don’t overwork the image. Maintain clear lines, defined details and recognisable textures. I keep my lines on a separate layer so I can quickly refer to them. A good design is not only recognisable, but easily recreated, too. Think about structure in relation to the material. For example, the armour’s made from a bronze and steel material, so my lines are sharp and heavy to emphasise how tough it is. 09. Creating the battle armour version This snake armour is inspired by 1920s fashion This is where it gets tricky, when you put on your practical hat and start asking more questions. Is the armour placed on or strapped on? How does it work? If it’s high-end tech then perhaps it can be multi-layered and unfold from a central device. Furthermore, what’s the theme of the armour? Here, I’m going for a subtle snake theme mixed with a retro 1920s vibe. I want it to look like it grows, so I create two versions: one before and one after it’s activated. Again, take into consideration how this might look in real life. Something too big and bulky will look unrealistic. 10. Introduce motifs Motifs in different elements help bring the whole costume design together Repeating motifs and identifiable fashion elements help to maintain a sense of consistency between the character’s two outfits. For example, the triangle theme that’s evident in the coat and dress now appears on the body armour. The snake motif, while subtle, appears on the helmet and the sword if you look carefully enough, as well as within the central body armour section. 11. Think ahead Keeping textures on different layers makes the working process much easier Keep each piece of clothing on a separate layer. I create my imagery in black and white and then add a layer of colour followed by the texture or details. This enables me to change elements at any time. There’s nothing worse than finalising your image, only for the client to request a quick colour change. Or even worse, ask to swap out the materials of a particular piece of clothing. 12. Illustrate more than you can see Don't cut corners - illustrate every clothing layer The final design with all its layers will often hide elements of the clothing that a client may want to see later. Pre-empt this by illustrating everything in layers and completing each layer of clothing. Think of the process like dressing a doll: start at the beginning and up build the layers. This will also help illustrate how one piece of clothing may hang or interact with another. 13. Give your character suitable accessories Accessories should appear coherent with the rest of the design This is often an afterthought of costume designers. Designing accessories such as weapons – guns and swords, for example – is my favourite part of the process. I take the time to hone the design of these accessories so that they have a character all of their own. One approach is to imagine them as a toy line. What would make them stand out on the shelf? What would make you buy it? Note that the gun follows the same V-shape design elements as the costume itself. 14. Prepare the modesty layer Stay ahead of your clients by preparing alternatives Using Photoshop is extremely handy at times. You can anticipate most client changes ahead of time by simply working in extra layers. I always create modesty layers: one image to sell the sexy nature of the character and another more realistic ‘costume’ layer that covers up any exposed areas of skin deemed to be too racy. 15. Bear in mind self-promotion opportunities The finished design can become the centrepiece of a portfolio Once the design is signed off I often do a ‘magazine’ edition. This is a glossy showcase version that’s for my own collection, and are perfect for promo work. Remember that your costume design images are often only ever seen in-house. This article originally appeared in ImagineFX issue 161; subscribe here. Related articles: Closing the door on Hell: artists pay tribute to Hellboy Design a playable avatar for a video game How to improve your character art View the full article

Finding the right font, just like finding the right romantic partner, can be a long, frustrating process. Apps like Tinder have revolutionised how people pair up by reducing courtship to a simple swipe left or right action on your phone – but what about designers on the look out for their perfect font match? Well, thanks to Font Flipper, choosing Google Fonts at least has just become a lot easier. Describing the service as "essentially Tinder for fonts", Font Flipper's makers have created a free web app that lets you preview text in different font styles, with over 800 font families found on Google Fonts to cycle through. To get going with Font Flipper, you just upload an image, drag a text box where you want to write, select the style of text, and then it's time to start previewing some Google Fonts. Along the way, you're given the option to like or dislike fonts, in Font Flipper's quest to narrow down lettering options and find 'the one'. Liked fonts are made easily accessible to download, while disliked fonts are left to wonder what the other styles have that they don't. What's more, Font Flipper claims to be the easiest way to preview Google Fonts on top of custom designs. There's no need to download fonts to your computer, only to find out that they're not the right fit after all. Simple find what you like, download, and start typing. Now if only Tinder was this straightforward... Check out a preview of Font Flipper in action with the video below. Related articles: Adobe adds 665 fonts to Creative Cloud Transform your type online with variable fonts 21 perfect font pairings View the full article

It's safe to say that if you've got Adobe Creative Cloud in your back pocket, you can pretty much create any kind of visual content imaginable. But the software isn't exactly easy to use, and there is a bit of a learning curve if you're attempting to teach yourself how to navigate the various apps included in the collection. This bundle is here to turn you from a beginner into a total pro. Pay What You Want: Adobe CC A-Z Lifetime Bundle is jam-packed with creative goodness, as you'll learn the ins and outs of all that Adobe Creative Cloud has to offer. Get a complete and comprehensive course in Adobe After Effects to learn how to add visual effects to your videos. A beginner's guide to Photoshop will teach you how to edit photos so professionally that they'll look like they belong in a magazine. Courses on Adobe Premiere Pro will have you editing your own videos in no time at all, whether they're promo videos, video tutorials, or travel vlogs. Discover how to create newsletters, newspapers, magazines, and more with lessons on Adobe InDesign. Best of all, you can get all this knowledge for whatever price you name. Just imagine launching a brand-new design career, paying a mere fraction of what you'd pay for a college tuition. Pay what you want for the Adobe CC A-Z Lifetime Bundle today, and enjoy huge savings off the list price of $2593.98 / £2034.55. Related articles: The best Adobe deals in 2018 The designer's guide to becoming Adobe certified Adobe adds 665 fonts to Creative Cloud View the full article

Leaving the safety of a full-time job and going freelance can be terrifying, but it can also be hugely rewarding if you go about it the right way. Working for yourself without being tied to 9-5 life is an irresistible prospect, but it's easy to overlook the business end of the deal. If you don't spend some time taking care of business – pitching, billing, dealing with tax, knowing how to network and so on – your freelance journey could be over before you know it. 12 essential tools for graphic designers in 2018 Luckily, there are plenty of tools, apps and services that can make the business side of freelancing a lot less painful, giving you more time to do the actual work and enjoy the freelance lifestyle. Read on to discover some of the best tools available... Financial tools One thing I learnt quickly is that it's essential to keep a keen eye on the financial side of your freelance business. Taking advantage of an online accounting service is money well spent. Creating invoices, tracking payments, and sending out reminders isn't the best use of all of your time – so streamlining the process as much as possible is a good idea. Xero is an easy-to-use accounting tool I've used a variety of online accounting services including (01) FreeAgent and (02) Xero. Both offer a range of features that will help with everything from billing to taxes including: Invoicing creation and reminders Quotes and estimates Customer management Expenses management Bank feeds and reconciliation Payroll management VAT management Having your transactions directly imported from your bank is a huge time saver. This not only gives you a great overview of your cashflow, but will save time and hassle at tax time. If you're new to freelancing, it's definitely worth checking that your preferred bank has feeds enabled. I also strongly recommend having a dedicated savings account that you can deposit money into after each project for items such as tax, insurances and professional fees. Most banks offer this when you set up your accounts. Finally don't skimp on a good accountant. They will ultimately save you more than their annual fee and are a great source of information on what can, and cannot, be claimed for. 02. Project management tools You're probably familiar with project tools such as (03) Basecamp and (04) Trello but there are a few other tools that you might consider for your freelancing toolbox, and some have more features than you might currently be using. (05) Dropbox is not only a great backup tool but a great way of sharing and collaborating on documents such as proposals, contracts, work in progress graphic files and more. Another useful feature is that all Markdown files are automatically converted into very presentable, and readable, files when viewed online. Sharing files with clients is also simple and effective. You're able to share a document via a public link or can hide the document behind a password. You may also set an expiration date for the link, which is often very useful. Additionally, the file requests feature allows you to invite anyone to upload files to your Dropbox, even if they don't have an account. Coupled with the in-built version control, it's a effective way of keeping project files together. The mobile app has also come to my rescue on more than one occasion. Alongside Dropbox, don't overlook the benefits of (06) Google Drive – it offers many of the same features you'll find in Dropbox, and ties straight into Google's office apps, making collaboration a cinch. 03. Communications tools Client communication is key to a project's success. I am sure we've all sighed heavily when yet another email has landed in our inbox. I often found talking with clients face-to-face solved problems quicker and more effectively. (07) Skype is a great tool for client meetings – especially one on one video chats. For a few pounds a month you can also purchase a Skype In Number5 which you can add to your website. Calls to your number will be routed to Skype, or you can send directly to a voicemail greeting and pick up your messages at a later date. Another trick I occasionally used was to record client Skype meetings. I'd mention this at the beginning of every call and only do so if everyone was comfortable. It's often easy to miss key items when in the heat of conversation and being able to go over the conversation later ensured I had everything covered. A couple of great options to help with recording your calls are (08) Call Recorder and (09) Audio Hijack. HelpScout is a good way to manage client projects I also often recommend (10) HelpScout for client communications. While often seen as a support tool, it can easily be used to manage client projects. The great feature is that you don't have to deal with all incoming email in your inbox, as it's rerouted to HelpScout. It also has a number of great (11) integrations with popular apps. If you only need the basics, the free plan includes three users and one mailbox. One final recommendation for communication is (12) Calendly. Booking in meetings can often be more painful that it should be. Calendly allows people to book a time slot with you and have it automatically added to both your calendars (it works with both Google and Office 365). It caters for conflicts and only shows slots that you specify. 04. Design and code tools (13) InVision has really come to the fore in the last couple of years and having used it myself, I would definitely recommend adding it to your freelance toolbox. InVision can do a lot, here's a flavour: Advanced animations and transitions Cross platform support Contextual feedback Threaded conversations Automated project management Custom mood boards In-browser design meetings Guided product tours Unlimited version history Integrations with services like Photoshop CC, Sketch, Dropbox, and Slack Instant code generation Downloadable components InVision can do a lot to help your life as a freelancer You can sign up for free and have one active prototype. Paid plans start at $15 per month. Another tool I have used almost daily for many years is (14) CloudApp. It's a really quick and simple way of sharing screen shots, documents, files and taking short screencasts. Each drop, once uploaded, autogenerates a unique URL, which is copied straight to your clipboard for sharing. Like InVision, it also integrates into (15) Photoshop CC and (16) Sketch. The Atom code editor has some nice features A good code editor is another essential asset. I've recently switched to the open-source (17) Atom editor from (18) Sublime Text. It has some really nice features and a great plugin eco-system, and is well worth a look. 05. Content tools As much as you might love designing and coding, words are going to form a huge part of your freelance business. Many of us find writing hard and time-consuming. Luckily, there are a few tools that can help. First up is a personal favourite called (19) aText. This is a very neat Mac menu bar utility that allows you to avoid typing the same thing repeatedly. From inserting email signatures, to code snippets, and auto corrections to words you constantly type wrong, it's well worth the $4.99 cost. You can also use it to create boilerplate estimates, contracts and more. For those of us who struggle with grammar rules (20) Grammarly could well become your new best friend. The Chrome extension corrects over 250 types of grammatical mistakes, while also catching contextual spelling errors and poor vocabulary usage. As it's a browser extension, it can be used wherever there's a text input. Overall, freelancing can be very rewarding and lead to interesting projects and great opportunities. With the help of a few tools you can free up time to concentrate on the reason you became a freelance – to work on challenging projects. If you are interested in moving into the freelance world, you can download a free PDF copy of Grow: Volume 1, a book I helped produce with my colleagues at Shopify. Related articles: The art of going freelance 25 tips for staying sane as a freelancer The freelance survival guide View the full article

Many of the world's best-known design and branding agencies boast more than a hundred staff, spread around the globe. Look at Pentagram, Landor, Wolff Olins, JKR, Design Bridge, Pearlfisher or the recently-formed Superunion – household-name agencies, granted custody of household-name brands. Plenty more highly reputable design agencies operate in the sweet-spot between around 20 and 50 staff – the likes of Made Thought, DesignStudio, DixonBaxi, Taxi Studio and Moving Brands all fall into this category. But size isn't everything when it comes to creating world-class work. Read on to discover five small but perfectly formed agencies – all with just a handful of full-time staff – that command respect from peers and clients alike... 01. Studio Sutherl& Sutherl&'s Start-rite work demonstrates how the tiny agency's boutique approach can adapt to a high-street brand Jim Sutherland left hat-trick design, the multi-award-winning consultancy he co-founded with Gareth Howat, in 2014, to set up his own, smaller, now also multi-award-winning outfit – which topped Computer Arts' UK Studio Rankings 2017. Not that hat-trick was ever a big agency – but Studio Sutherl& couldn't much smaller: it has a full-time staff of two. Joy, wit and simplicity lie at the heart of the studio's work. And while many of its warmest, most personable projects are for small arts and culture organisations, a strong collaborative spirit opens up a wider range of potential projects. As its website attests, Studio Sutherl& was founded to be "agile and personal, building teams from the best artists, architects, writers, strategists, fashion designers and others to suit each project." Recent work for Start-rite Shoes demonstrates how the tiny studio's compelling approach can appeal to a major high street brand. 02. Build Build is one of two inclusions on this list founded by alumni of the Designer's Republic (tDR), the era-defining design agency of the '90s. Having cut his teeth at tDR, Michael C Place founded Build in 2001 and has built it into a multi-award-winning agency in its own right – with just a handful of staff in Leeds. According to its website, Build "helps clients to communicate, tell their story or grow their brand with contemporary, thoughtful design." The studio works across multiple disciplines, including art direction, image making, moving image and typography. Like many other small agencies, Build has its fair share of small, artsy clients – but they sit alongside global heavyweights such as Nike, Getty Images – for whom Build rebranded iStock in 2013 – and Virgin America, which included a character-led animated takeover of Times Square, produced in collaboration with Animade (and filmed in situ, above, by Branded Cities). 03. Supple Studio Supple Studio has worked on various projects for Channel 4, including this Film4 Summer Screen campaign Jamie Ellul left Magpie, the award-winning London agency he co-founded with Ben Christie and David Azurdia, to move to the beautiful city of Bath. There, he established Supple Studio, again with just a handful of staff, working with major clients such as Channel 4, the NSPCC and Royal Mail. Collaboration is often the key to scaling up the level of ambition for a small studio, and Supple spells it out on its website: "With us you get small agency thinking paired with big agency impact... a small dedicated team with the benefit of a large network of partners and experts." In fact, Supple is one of the most outspoken advocates of 'small agency thinking': "It means we approach every client brief with the same care and attention. It means we sweat about the little details that can make a big difference. It means your project won’t be passed along from one person to another. We know that beautifully executed ideas can seriously improve your business: small agency thinking means big ideas, and big impact." 04. Sawdust Sawdust doesn't just craft stylish typographic imagery – the two-man outfit recently rebranded Converse Sawdust is the only small studio on this list not founded by someone who split off from the senior team of a larger outfit – so has built its reputation from scratch. The long-running partnership of Rob Gonzalez and Jonathon Quainton specialises in typographic work and image-making, with editorial clients including Wired, Esquire and the New York Times – but also commands the confidence of big-brand clients such as Nike, Coca-Cola, Apple, Converse, Virgin and IBM. "At the heart of what we do is a desire to create work that is both explorative and beautifully crafted," is Sawdust's mission statement. "Above all else we retain a deeply rooted conviction to not only deliver design that is effective but that exceeds our client’s expectations." Would you expect a two-man outfit to have the clout to rebrand Converse? If not, Sawdust proves you wrong. 05. Universal Everything Our final inclusion on this list is the brainchild of another tDR alumnus – Matt Pyke. Universal Everything is a "global collective of digital artists, designers, animators, musicians and developers", with only a skeleton staff for the agency itself. With a dizzying array of global clients including Apple, Audi, Chanel, Google, Nike, Samsung and more, Universal Everything proves how effective a flexible, collaboration-based agency model can be to deliver awe-inspiring projects on a global scale. The agency's portfolio includes immersive multi-sensory experiences, innovative moving image installations and more, including launch events for some of the world's most forward-thinking brands. Related articles: 8 of the most successful independent design agencies The design agency survival guide 5 agencies that do things differently View the full article

A malicious fax sent to an HP Inc. OfficeJet all-in-one inkjet printer can give hackers control of the printer and act as a springboard into an attached network environment. View the full article

Apple 0-Day allows hackers to mimic mouse-clicks for kernel access, despite mitigations. View the full article

LAS VEGAS – In recent years there has been more attention paid to the security of medical devices; however, there has been little security research done on the unique protocols used by these devices. Many of the insulin pumps, heart monitors and other gadgets found in hospital rooms use aging protocol to communicate with nurses’ […] View the full article

Creating an apocalyptic sci-fi city scene in 3D art is something artists might shy away from doing because of the vast complexity of the subject, 3D models and textures needed. But with smart ways to tackle it, it is certainly doable. There are many different paths you can choose to achieve the final visualised image you have in mind. In this tutorial, I‘ll shed some light on the process I used to make this night-time scene. I try not to limit myself too much with a strict and predetermined workflow, or the software I use. My workflow may differ minimally to vastly depending on the project I’m working on. Software packages are just different tools that help you to get things done. 31 brilliant Blender tutorials Most of my projects start with a concept sketching stage in 2D, but this time I started in 3D. If you’re interested in 3D concepting, I strongly recommend Jama Jurabaev‘s Intro to 3D Concept Design course on Learn Squared. Procedurally generating a city can vastly speed up the initial stage of finding a good concept, camera position and composition. You don‘t need to worry about getting the perspective of your 2D buildings right; in 3D you can simply reposition your camera and instantly have a completely different picture. 01. Look for references Look beyond Google for reference images As I already have a pretty good picture in mind of what I wanted to do – an apocalyptic, Independence Day-inspired scene – I start with hunting for reference. If all you want is reference pictures, Google is a good place to start, but if you intend to use those references in some way or another in your picture (textures, and so on), you should look for royalty-free images. Pixabay and Textures.com are a big help there. 02. Create the assets Photoshop brushes allow for the buildings to be painted quickly I use a procedural approach to model the buildings. The lower buildings are all displaced planes. I hand-paint a few displacement maps of single buildings with Photoshop and convert them into brushes. This method allows me to quickly ‘paint’ displacement maps for entire city blocks. These blocks can then be instanced to give the illusion of a highly detailed city. The higher buildings are roughly modelled with no attention to topology. We will add details later. 03. Add textures and shading Blender randomly allocates the textures The texturing and shading is done (partially) procedurally. I compile several pictures of cities to texture atlases. I then map, shade, alter and randomly distribute those textures with Blender’s powerful node system. For every diffuse map I plug in, the shader network automatically generates a specular- and bump-map. Not a single building is manually UV-unwrapped – all are box-mapped with some random shifting of the coordinates. 04. Streamline your lighting Lighting is mapped in a similar way to the textures I compile light texture atlases the same way I did the diffuse textures of the buildings. The mapping is also done the same way except blocking the textures on faces, which point upwards to avoid having lights on the roof. Distributing them randomly means they often don‘t match up perfectly to the diffuse textures. There is definitely a trade-off between being fast and flexible, and probably having to fix some things in post-production. 05. Shift and scale UVs Displacement maps are modelled in real time The base of the ship is a really simple model, which I then UV-unwrap, subdivide and displace with a displacement map I find in a Blender forum thread. The UVs are all rectangular and not rotated so the displacement follows the round form of the ship. With such a set up you can shift and scale the UVs to model the ship with displacement maps in real time. This is an extremely fast and intuitive way of doing greeble-like surfaces. 06. Experiment with building layouts Different building layouts can be played with quickly Now the fun part begins. This is where all the work comes together. First, bundle all the buildings into separate groups that feed particle systems. By doing this, you can change the random seed of a particle system and shuffle through randomly generated cities to find an arrangement that you like. This is the power of 3D concepting – you can generate several layouts in a really short amount of time. 07. Create lighting with HDR HDRs produce true to life lighting quickly The scene is lit entirely with a HDR image. There are numerous places on the internet that provide high-resolution HDRs these days. HDRs have two major advantages for 3D concepting; they render extremely fast and give you realistic lighting with a click of a button. I pick a few that I then import into Blender to quickly test out a few lighting scenarios. Cycles, Blender’s modern built-in viewport renderer, makes this a breeze. 08. Do render passes Allow plenty of time for a beauty render Beside doing a beauty render, I also render out several passes for compositing. These include, ID passes so I can quickly select individual buildings; Z-depth passes to simulate the atmosphere; Normal passes for eventual relighting; and, of course, several light passes. The beauty render needs around 20 minutes in 4K to be reasonably noise free. The additional passes are ready in a fraction of that time. 09. Create atmosphere Build the image up from the background to the foreground With the already prepared and rendered passes, the compositing is really straight forward. I usually work from the background to the foreground. The sky sets the mood. With the Z-depth pass I‘m able to give the image a nice atmosphere. The light passes are then added on top and blended between them, depending on which light pass looks best on the buildings. 10. Add details Fixing is easier than adding every single detail Now comes the payback for not doing things properly before rendering. But most of the time fixing things in post is far less work than having to model every little detail and care about every pixel in the render. In this stage, I blend the spaceship with the clouds, add red lights on the roofs, add cranes, chimneys, antennas, the electric lightning below the ship and the smoke between the buildings. And generally fix everything that wasn‘t perfect! 11. Finalise the scene Recreate a camera lens to finish off the image The final step is to replicate the effects of a real camera’s lens and film; to make the scene look as it would have looked if it had been shot in the real world. So, I slightly blur the scene, add bloom, lens distortion, a slight chromatic aberration, vignetting, film grain, and finally give it a cinema-like colour grading. I love this part. This is when everything you worked on blends together to form something real. It‘s like magic. This article was originally published in 3D World magazine. Subscribe here. Read more: How to create a photorealistic room scene Master procedural modelling Create a tiles material in Substance Designer View the full article

I’ve always liked the undead, and will often root for the ragged underdog who’s so often reduced to a moving target. Many of my works feature characters who have a ghoulish appearance, and here I’ve used an unnatural cold skin tone, with gangrenous fingers to depict that age-old trope of outstretched zombie arms. However, I’ve decided to look at the bright side of death and paint them as colourful, friendly, magical people, expressing glee and enjoying their new lifestyle choice. Colour is a dominant aspect in many of my works, and I like to experiment with it. Of course, one needs to understand the basics of colour theory before attempting to explore it further. I think that a combination of what should happen according to the laws of physics, the artist’s expectations, the glitches in one’s vision, and the fuzziness of the brain’s interpretation of what it thinks it sees, is the best way to express colour in a painting. 20 top character design tips The ‘deep dream’ images created by an AI program have opalescent overlay that appeals to me, and so I’ve tried to clumsily implement this effect into my art. I’ve realised that using a colour which has no business being used can be a lot of fun. To understand my process, and use it to create your own vividly gruesome creatures, watch the video and follow the steps below. You can also download my custom brushes here. 01. Have a vision (or not) Click on the top-right corner to enlarge the image I readily admit that it’s incredibly inefficient to start with only a vague vision of the main character, but that's the way I work best. I have no idea what I want the picture to look like, but I tend to produce better results when I just skip most of the planning and get straight to it, leaving many aspects to fate. This approach happens to work for me, but I advise against it! 02. Choose your brush I'm using my Custom Chalk brush. This is the brush I use for almost everything, regardless of the software. It’s a rectangle with natural edges and with a faint texture. I usually set my brushes to simulate soft chalk as much as the program makes it possible. Click on the image above to download my custom brush. 03. Study human anatomy Click on the top-right corner to enlarge the image Human anatomy, especially hands and faces, are so familiar to us that even without any formal knowledge, we can easily spot mistakes. Therefore, reference is extremely important for my work. I try to include something previously unexplored into each new illustration, to avoid getting stuck in a rut. I’ll study the subject matter and immediately put my knowledge into practice. For help and advice on depicting human anatomy, see how to draw people. 04. Define the scene Click on the top-right corner to enlarge the image Now I’ve got a good grasp of my composition, and have come up with some ideas on what should be added to make it work. I further define the scene, choose my colours and add secondary elements. In this case it’s a collection of arms that support the main figure, while also adding more movement and a hint of a story. 05. Play with UV light Click on the top-right corner to enlarge the image I start with conservative purple-grey tones and gradually mix them with random hues until a stronger palette begins to emerge. When I’m satisfied with what I see, I push the palette towards the toxic-looking, unnatural tones that can be seen under a UV light using soft colour overlays. 06. Add visual padding Click on the top-right corner to enlarge the image I often use swirling rich drapery for areas that have otherwise very little to offer, to balance the overall composition. My aim is to create a scene that’s staged and tightly packed. 07. Bring in more light Click on the top-right corner to enlarge the image Late on in the process I add a new, bright light source to introduce more drama and draw attention to the character’s face. I use a masked Curves adjustment layer and a soft brush in Photoshop to preserve the details of my almost-finished painting. 08. Use textures Click on the top-right corner to enlarge the image I always aim for a painterly look in my work, so towards the end of my process I import a photo texture of a painted surface, set it to Overlay mode and adjust it to match the shapes and main strokes of my painting with a strong smudge brush. I use the High Pass filter and a little bit of chromatic aberration to make the painterly structure pop even more. 09. Make rendering adjustments Click on the top-right corner to enlarge the image My lack of planning means I have to make tweaks to many elements in the scene. Since I discovered programs like Corel Painter and Paintstorm Studio, I use them for brushwork, because their brush engines are more intuitive and better suited to my style of painting. Photoshop remains my first choice for large-scale adjustments. This article was originally published in issue 161 of ImagineFX, the world's leading magazine for digital artists. Buy issue 161 or subscribe here. Read more: How to create new character designs in Photoshop How to paint a zombie in Clip Studio Paint How to create a Pan's Labyrinth-style monster View the full article

You're reading Create Websites and Landing Pages – Slides 4 Framework, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! Website Builder with a drag and drop feature that will help you create a website in a few minutes. The online app contains ready-made website templates and UI elements. Also, you can create beautiful animation elements on your webpage and impress … View the full article

The games industry is one of the most creative, diverse, exciting and sought-after industries for a digital artist specialising in 3d art to work in today. As a games artist, you can create stunning worlds, characters or props in styles ranging from the realistic to cartoony or anywhere in-between,” says Simon Fenton, head of games at Escape Studios, an industry-leading academy for visual effects and digital art. He continues: “The UK games market in particular is enjoying record growth; UKIE recently announced that the market had grown by 12.4 per cent over the past year to a record-breaking £5.11bn, largely attributed to the delivery of ‘world-class content for an ever-expanding eager audience’. You have to be at a really high standard to make it in the games industry – you have to reach a very high bar.” With those facts in mind, getting a start in the video game industry can often feel like an unbeatable level, a vicious cycle of disappointment. That’s why we have gathered producers, recruiters, artists and tutors to assemble the ultimate cheat sheet. Airship Images has a particular focus on producing real-time hair and fur, including for various characters in Battlefront II Each contributor will dispense wisdom and experience on every part of the process, from creating a CV to acing an interview. Follow this expert advice to take your video game career to the next level. “It’s definitely a competitive landscape, there are a lot of people that are hungry to work in this industry,” says Declan Paul, producer at Airship Images. Since opening in 2009 Airship has worked on numerous AAA titles, including Star Wars Battlefront II, Forza Horizon 3 and The Division. When beginning the search for a role in the video game industry, Paul states that it’s always best to look for roles at the studios that inspire you to work in the industry. He adds: “Tailor your portfolio to these studios and be sure to research what they’ve worked on in the past as well as what direction they’re going in next. This is also helpful to do early in your art education, as it will provide you with a clear path to follow when making decisions on what type of art you should create for your portfolio, what style you should work in and what areas you should improve on to obtain that position.” Ognyan Zahariev’s faithful re-creation of Dumbledore’s office According to Paul, events such as conventions or presentations represent great opportunities to meet like-minded artists and grow a network of industry contacts. He explains: “You will learn a lot about the industry at these events and have fun while doing so. Often there are opportunities to get your portfolio reviewed, talk to studio recruiters about the positions they’re hiring for and learn more about studio hiring processes. These opportunities are invaluable so be sure to take advantage of them when you can.” For those that can’t reach such events, social media and online competitions represent an ideal opportunity to connect with the community whilst showcasing your abilities. Artists can provide feedback and encouragement to each other from halfway around the world. The best art will often attract the attention of established studios in their search for the freshest talent. Tailor your portfolio so that it is exciting and relevant to each developer Simon Fenton Unanimous among our contributors is the assertion that every application you make should be tailored specifically to the studio in question. As such any application should demonstrate that you have done your research on the studio and their work, past and present. The application is an opportunity to sell yourself to potential employers and showcase exactly what you’re capable of. Despite the numerous roles for artists in the industry, advice for crafting a stand-out application is fairly universal. “Focus on quality and not quantity in terms of the projects you include in your portfolio,” says Ognyan Zahariev, who successfully landed a job as lighting artist at Ubisoft Sofia, where he’s been rising through the ranks for five years. Having drawn characters from a young age, Sven Juhlin found the transition to 3D character art an easy decision to make He continues: “Have a well-organised portfolio with breakdowns of your work. Only include work that you are really proud of. The recruiters and artists going through your work will only be looking for quality and not the number of projects.” "First and foremost is a strong portfolio with no fillers or weak work. Try to tailor your portfolio so that it is exciting and relevant to that developer," adds Fenton. "For example, highly stylised work might not appeal to a developer that makes realistic driving games." "It’s not just strong work that sets you apart – showing your prospective employer that you understand their business means you are switched on and thinking professionally. Research how the company operates, its past games and any interviews that they have given. Mention past papers they may have published and check their blogs. Talking about why you like their art and backing it up by mentioning specific techniques, people or processes demonstrates an inquisitive, driven approach." How to create stylised game artwork For freelance character artist Sven Juhlin, who got his start in the industry working for EA DICE, it’s crucial to showcase some originality in any portfolio. For example: “Don’t do a version of the Hulk if it’s not a really impressive version. There are already so many versions of him out there and it’s so hard to stand out from the crowd. Create your own character with an original backstory and try to make something that feels fresh and new.” Level two: the interview If your application piques the interest of potential employers, you may well be contacted for an interview. This part of the job-hunting process is often the most nerve-wracking for any applicant, in any industry. However, there are some sound pieces of advice that can prevent the experience from becoming the stuff of nightmares. According to Fenton, it all comes down to the basic, and yet easy to get wrong, interview essentials. “Make sure you know where you are going and turn up ten minutes early, dressed smartly. My personal tip is to stay away from coffee as this can make you agitated. Always answer questions honestly; it’s a small industry and you will get found out if you’re anything less than truthful.” He continues: “Research the company and their history so you can ask them questions regarding the future direction and how you might progress. Try to practise, perhaps get friends to ask you challenging questions. I have often asked potential candidates why they chose to do something in a particular way and if I hear ‘I don’t know’, that’s not a very interesting answer.” According to Juhlin, finding your own style is crucial to success in this increasingly busy industry As Paul points out, rejection is a natural part of any job-hunting process – the trick is to turn it into something positive and not to let it prevent you from moving forward. “The primary thing to keep in mind when receiving rejection letters or emails is that it’s a ‘not now’ rather than a ‘not ever’. Use these rejections to motivate yourself to do better and apply again once you’ve updated and improved your portfolio. This cannot be done in a couple of weeks, so make sure you substantially update your portfolio before reapplying if you want to be properly considered for the role.” Use rejections to motivate yourself to do better and apply again Simon Fenton He adds: “It’s also worth following up on your rejection emails and asking for feedback on your portfolio. You may not hear back but it’s worth the effort on the off-chance you do, as this could provide you with an insight of what you need to improve to get to where you want to be.” As Fenton points out, “there are no shortcuts to success.” The bar may be high for a career in the games industry, but as each of our contributors will attest, it is not unreachable if you are willing to put in the necessary time and effort. So what are you waiting for? Take note of everything you’ve learned in this feature and get ready to enter career mode. This article originally appeared in issue 236 of 3D World, the world's leading magazine for 3D artists. Buy issue 236 or subscribe here. Related articles: Design a playable avatar for a video game 11 best video game character designs How to create a video game character in ZBrush View the full article

Adobe has given the world a lot of design software with its Creative Cloud collection. While this software is sure to elevate your photos, videos, and audio projects to the next level, there can be a bit of a learning curve to them. Now, you can gain a solid foundation in Creative Cloud with The Complete Adobe CC Training Bundle. With this bundle, you'll learn how to edit photos like a pro on Photoshop, create entire videos on Premiere, and design beautiful graphics with Illustrator. You'll also master useful software such as InDesign, Flash, and After Effects – essential skills to have in your toolkit if you're a graphic designer, blogger, or social media manager. Get The Complete Adobe CC Training Bundle for just $29. Related articles: Adobe adds 665 fonts to Creative Cloud How to use Adobe Capture CC Adobe and Erik Spiekermann revive lost type sets View the full article

The term 'Space Force' has been kicking around the headlines for a few months now, often accompanied by background chuckles and wry smiles. But it looks as if the new US military branch is one step closer to lift off if these potential logo designs are anything to go by. For the uninitiated, the space force is the proposed US military branch that looks to protect America from what Vice President Mike Pence describes as "the growing security threats emerging in space." It's easy to dismiss anything space-related as the preserve of science fiction and wishful thinking, and it often feels that out-of-this-world ambitions are trumpeted whenever a President is looking to get re-elected. But given the unpredictable state of world affairs, we wouldn't be surprised if Space Force became a reality. To herald the arrival of Space Force, Trump 2020 re-election campaign manager Brad Parscale sent an email to supporters asking for their thoughts on a potential logo design. Sent on Tuesday, the email read "President Trump wants a SPACE FORCE – a groundbreaking endeavour for the future of America and the final frontier." It went on to highlight the potential commercial opportunities in sight: "As a way to celebrate President Trump's huge announcement, our campaign will be selling a new line of gear." Check out the potential logos below. Click to get a better look at the potential Space Force logos If one logo stands out from the crowd for us, it's the first one. As well as being the only design to eschew the rocket icon, it also bears an uncanny resemblance to the NASA logo – so much so that its designers must be looking at how they can deal with plagiarism. Cynics have written off the email as a cash grab piece of marketing as, upon voting on their favourite design, participants are presented with a campaign fundraising pitch. And with the email from Parscale specifying that the logo will appear on merchandise, it seems that the almighty dollar is (perhaps not surprisingly) a driving influence behind the vote. Unsurprisingly, designers have weighed in with their critical and humorous takes on the selection of logos on offer. This isn't the first time the Trump administration has been criticised over its graphic design choices. Earlier this year Melania Trump's Be Best logo came under fire for its clumsy execution and similarity with other people's work. Only time will tell if one of these Space Force designs becomes as big as the Make America Great Again baseball cap, but in the meantime, in the words of the President himself: "Space Force all the way!" Related articles: Discover why Donald Trump ditched his brand-new logo design The New Yorker reacts to US election result with brick wall illustration The New Yorker reveals Clinton election victory cover View the full article

Learn how to start your animation career and discover how to develop your characters and stories with the latest issue of ImagineFX magazine – on sale today. In the pages of ImagineFX 165, you'll hear advice and inspiration from teachers in the industry who want to help you take your first steps into the world of animation. Buy issue 165 of ImagineFX here Elsewhere in issue 165, we talk to Louie del Carmen about how he developed a love for animation and landed work with Disney. We also hear from Bader Badruddin on how to start developing character animation faster and stop over-analysing, plus David Ardinaryas Lojaya is on hand to tell you how to use greyscale to render figures. There's also all the news, reviews and reader art you've come to expect – don't miss it! Never miss an issue: Subscribe to ImagineFX here Explore what's on offer by taking a peek at the lead features, below. The pros of attending conventions Learn how to enjoy a convention, no matter why you're attending Conventions have exploded over recent years. And thanks to communities developed online, finding the right one for you is easier than ever. We talk to organisers and attendees about how artists can get the most out of conventions, whether they're there for business or pleasure. Inside the career of Armand Serrano Learn how Serrano became a successful Disney animator He might be a successful Disney animator now, but for Armand Serrano the road to glory was not without a few speed bumps. Having been knocked back by both Warner Bros and DreamWorks, the persistent artist finally found a home in the famous animation studio, and as he says, "the rest is history." Discover his story in this exclusive interview. Develop characters full of life There's plenty to keep in mind when creating stand out characters There's a lot of received wisdom when it comes to nailing a distinctive character design, but how do you juggle all of these rules and find room to develop your own style? Luckily, Pernille Ørum is on hand to reveal her approach, covering everything from colour, pose and silhouette. Build your pencil skills This workshop will add structure to your pencil work Sometimes just getting started can be one of the biggest creative hurdles for artists. With that in mind, Tim Von Ruden is here to remind you that the best way to level up your work is to stick at it. And with the help of his sketching advice, you'll be creating better work than before in no time. Related articles: Create and animate SVG polygons Perfect your animation portfolio with these tips Understand Disney's 12 principles of animation View the full article

How would you describe creativity? Is it an innate way of thinking, or is it more like a muscle that can be developed with regular activity? The jury's out on this one, however what a lot of people do agree on is that creativity can work wonders for your life and career. In one of the best infographics we've seen about creativity, Davitt Corporate Partners breaks down how you can uncover your creative genius. 10 time-sucks for creatives and how to minimise them Starting off with a quick look at just what exactly creativity is (complete with a snappy quote from Alex Osborn you can impress your friends with at your next dinner party), this infographic goes on to examine techniques that could get your synapses firing in fresh and exciting ways. These include unwinding with a black cup of tea, going for a walk, or simply taking a shower, because who doesn't have great ideas while washing, right? Now before you turn your nose up at the idea of this pseudo-science, ask yourself: what have you got to lose by trying a few creative exercises? At worst you're left in the same position as you were before, but if the techniques covered in this infographic do in fact work, well... you can thank us later. Click the image to see the full size infographic Related articles: 13 incredible tools for creating infographics How to create amazing infographics Pro tips for creating interactive infographics View the full article

Straight from Black Hat 2018: How TRITON disrupted safety systems and changed the threat landscape of industrial control systems, forever. View the full article

More than a dozen flaws in smart-city gear could open the door to attackers bent on sowing public panic, according to IBM X-Force. View the full article

The Association of Photographers (AOP) fought tirelessly for the Copyright, Designs and Patents Act that thankfully came into force in 1988. But what does copyright actually mean for a commercial creative today? Copyright underpins the nature of how nearly all photographers make a living (the words ‘copyright’ and ‘licensing’ are equally applicable to all forms of creative output, not just photography). As a form of intellectual property and enshrined in legislation, it is a property right and gives creators the ability to generate income by licensing the use of their endeavours, as opposed to selling ‘units’ of work. This notion of selling use not unit is vital to making our businesses sustainable, as well as maintaining and safeguarding the creative industries. If you want to have a successful commercial career, you can't just rely on your photography skills, you need to have the business knowledge to back it up – and understanding copyright is a major part of this. It's no different to if you were to buy a music track: you do not own the content, but have purchased the right to use a copy for yourself Copyright – or, the right to prevent and control copying – gives us flexibility and gives our clients and buyers protection over the use of a creative piece of work. However, not enough clients and buyers understand that this creator’s right is enshrined in law, and that fees paid to us do not automatically confer ownership or title in the work to them. It's no different to if you were to buy a music track or a book: you do not own the content, but have purchased the right to use a copy for yourself. You might own the paper the book is printed on, but you do not own the words themselves. Likewise, you might own the hard drive or media the image sits on, but you do not own the image itself. Sign up to the Computer Arts newsletter The fees we charge cover our investment in skills, training, equipment such as cameras, insurance, some profit (we’re in business, after all) and generally also include some element of licensing. This helps keeps costs to the client lower than they would be if the client wished to own the work created outright. Unless a photographer assigns the copyright in their work in writing to someone or has accepted the terms of a contract that contain a copyright assignment, the ownership of the intellectual property rights, or copyright, remains firmly vested in the creator. Moral rights Sitting alongside the economic element of controlling copyright is a set of moral rights, enshrined in the same legislation. These are there to help protect us, in terms of reputation (and hence our ability to earn), as well as affording the client or commissioner some protection in the form of the right to prevent publication in certain circumstances. They are what’s called inalienable rights, so they cannot be sold or assigned, but they can be waived and often we will see contracts that seek an assignment of copyright as well as a waiver of moral rights. Lastly, it is worth mentioning that there are several exceptions to copyright law; instances when the law does not apply to certain uses of works protected by copyright. We might consider these to be important to balance the rights of the creator against the needs/desires of a potential user of a piece of work. Suffice to say that the copyright regime in the UK is one of the best there is. This article was originally published in Computer Arts, the world's best-selling design magazine. Buy issue 280 or subscribe. Read more: 5 photography trends influencing designers in 2018 30 books every graphic designer should read 10 tools that could save you time right away View the full article

When it comes to online video editing courses, there's a lot of choice out there, and all that can be overwhelming. In this post, we've gathered together the best video editing courses on the online market today, to help you decide. The best video editing laptops in 2018 But just like with any type of learning or tool for graphic designers, one size doesn't fit all, and the course that's right for you will depend on your preferred software, budget and favoured way of learning. In short, there's something for everyone here. So read on and we'll give you the info you need to find the right online video editing course for you. 01. Larry Jordan The best all rounder – learn about video editing from award-winning industry titan Larry Jordan Pros: Industry focused, expert insights Cons: Can’t download videos, 3 months minimum subscription Who better to learn about video editing than someone with a stellar career and reputation in the industry? Larry Jordan is an award-winning producer, director, editor, teacher and trainer who’s worked for US television for the last five decades. He launched a website offering online courses in 2003, specifically to enable editors, directors and producers to learn more about the evolving technology of media. Jordan's lessons explain the fundamentals of the software, then illustrate them with stories on how they're used in real-world projects. There's a big focus on updates to these tools, so that regular users can understand the latest features and what they can be used for. Software covered include Adobe tools (Premiere Pro, Photoshop, After Effects, Audition, Encore, Media Encoder, Prelude) and Apple tools (Compressor, Final Cut Pro X, Motion). There are 2,000 courses in video editing to choose from, and you get access to all of them for $19.99 a month (for a minimum of three months on the basic plan) along with webinars, tutorials and newsletters. Alternatively, you can pay for courses and webinars individually. All lessons are streamed, but there's no option for subscribers to download videos. There’s also no free trial option, although there is a selection of free tutorials so you can see what kind of thing is on offer. 02. Inside the Edit Industry insights for working editors – Inside the Edit provides deep industry knowledge that you won't find elsewhere Pros: Creative focus, unique angle Cons: Can't download videos, doesn't teach software Are you already working as a video editor, or close to getting your first job? Need training that goes beyond the basics, and gets into the nitty-gritty of what’s really needed in the real world of video editing? Inside The Edit doesn't teach you any actual software skills. Instead, it describes itself as “the world’s first creative editing course”. Developed by professional editors working in the industry, it details hundreds of specific structural, journalistic and creative techniques used in documentary and entertainment television. The tutorials, then, are a mix of high-end editing theory, footage analysis and timeline demonstration, and you’ll get 35 hours of real-world rushes (raw footage) to practise on, plus 2,000 music tracks to score with. There are also lessons on the secondary skills needed by video editors; as “psychologists, diplomats and social chameleons”. In short, this course is not at all suitable for beginners at video editing. But for anyone working in (or close to working in) the narrative-based television found in documentaries, entertainment shows and reality TV, it could provide just the boost you need to reach the next level in your career. 03. Video editing courses with Udemy Decent training at reasonable prices – Udemy offers good quality courses at relatively low cost Pros: Cheap, videos can be downloaded Cons: Variable quality, some courses are quite short Udemy is an online learning platform aimed at digital professionals, containing more than 80,000 courses in total. Which means that if you need to master a particular tool, you’re very likely to find a course for your needs. There are around 100 video editing courses on the site, covering tools including Premiere Pro, Final Cut Pro, Sony Vegas Pro, and Da Vinci Resolve. And you can narrow down the list further using the tabs at the top of the page, according to level, price, and language. You don’t need to take out a subscription; you just pay for the individual courses you take. And unlike some online course providers, Udemy allows you to download its videos for offline viewing via its mobile app. If you’re a beginner, we’d recommend checking out The Complete Video Production Bootcamp by Video School Online, in which Phil Ebener takes you through the basics of video editing, from program layout to final export, across nine hours of video training. (Note that this course is taught in Final Cut Pro 7, but if you're using another software like Premiere Pro, you'll still learn a lot from it in terms of general principles). Overall, the quality of courses on Udemy is good, but they can vary, so it’s always worth reading the customer reviews first before you commit yourself. 04. Learn video editing with Pluralsight Software training focused on Adobe tools – Pluralsight's video editing tutorials focus on Photoshop, After Effects and Premiere Pro Pros: Videos can be downloaded, learning checks keep you on track Cons: Some courses quite short, little use for non-Adobe software Pluralsight offers a number of online courses that will train you to use Adobe video editing software, including Premiere Pro, After Effects and Photoshop. These cover beginner, intermediate and advanced levels. The Photoshop CC Video Editing course taught by Ana Mouyis, for example, cover how to edit videos, composite, and basic motion graphics. After this short course, you should be comfortable with video editing workflow and have the skills you need to embark on your own projects. One of the coolest features of Pluralsight is ‘learning checks’, which are short quizzes to help you check you’re understanding the material correctly. It's a small thing, but it really can be helpful in keeping your learning on track. If you wish to download videos for offline viewing you can do so via the mobile app. And note that Pluralsight offers a 10-day free trial, so you can ‘try before you buy’. 05. LinkedIn Learning (previously Lynda.com) High quality training from respected experts – Lynda.com is now known as LinkedIn Learning, and is integrated into the social network Pros: Can download videos, LinkedIn integration Cons: Academic approach may not suit, some videos feel over-long Founded in 1995, Lynda.com is the most established and respected source of software training on the internet. Recently rebranded as LinkedIn Learning, the service gives you access to all its courses once you take out a monthly subscription. Premium members can download entire courses and individual videos on most desktop, iOS and Android devices using the app. There are almost 200 courses to choose from when it comes to video editing, covering software including iMovie, Final Cut Pro X, Premiere Pro, and Media Composer. Because of this wide range, Lynda is worth looking at if you’re after something specific. For example, Premiere Pro Guru: Multi-Camera Video Editing by Richard Harrington is a two hour course that teaches you how to import, sync, and edit footage from multiple cameras with Premiere Pro. The style of tutorial is a little more formal and academic than most online course providers, which may be a positive or negative depending on what you're looking for. If you want to see the kind of thing you’re getting, then just check out the free video tutorials that come with every course. You can also take out a month’s free trial that will give you access to all the courses on the platform. One more thing: the move from Lynda.com to LinkedIn Learning is not just a name-change; there's some nice integration between the courses and LinkedIn too. For example, if you're logged into LinkedIn, the platform now uses the data it has on you to surface training content that’s relevant to your needs. Also, when you learn new skills from taking a course, it’s super-easy to add those skills to your LinkedIn profile. Don’t worry, though: if you’re not on LinkedIn you can ignore all of that, and just focus on taking the course. 06. Video editing courses with Skillshare Diverse range of courses and subjects – Skillshare is an open platform, so there's a wide variety of video editing tutorials to choose from Pros: Wide range of topics, videos can be downloaded Cons: Variable quality, some courses quite short Skillshare is an online training platform where anyone can create a course and sell it. This creative free-for-all means that it’s a good place to find relatively short and punchy video lessons on niche topics, and that applies to video editing as much as anything else. For example, if you’re a student who’s completely new to video editing, How to Vlog! Film, Edit & Upload to YouTube by Sara Dietschy is a snappy, no-nonsense guide to the basics of creating a vlog, across 32 minutes. Watch the first video, which you can access for free, and you’ll soon get the idea. Bite-sized video courses such as this are usually less academic and more casual when compared with, say, LinkedIn Learning. But if you just want to start getting your head around stuff quickly, that might actually be preferable. Plus, you can take out a month’s free trial first to see if it’s for you, before parting with any cash. And if you do decide to purchase, then videos are downloadable within the app for offline use. 07. American Graphics Institute Interactive courses with live teachers – The American Graphics Institute offers live lessons for an immediate, interactive experience Pros: Live lessons, interaction with tutors Cons: Expensive option, only available on certain dates Want to learn Premiere Pro? Looking for live instruction rather than pre-recorded videos? The American Graphics Institute, a publishing and training venture, is offering online classes led by live instructors. These regularly scheduled lessons range from introductory to advanced levels, and if you can get to Boston, New York or Philadelphia, there’s also the option of attending physical lessons too. You pay per course, and it’s not cheap. But the value of having interactive classes, in which you’re able to ask questions, hear and talk with the instructor, and even share your screen, means you really do get what you pay for. 08. Ripple Training video editing course Pro training in non-Adobe tools – Ripple Training has a good selection of courses for Final Cut Pro users Pros: Good quality tutorials, free taster lessons Cons: Only covers specific tools, some courses are quite expensive These days, most online training for video editors focuses on Adobe software. But if you’re using Final Cut Pro, Motion, or Da Vinci Resolve, you may be better heading to Ripple Training, a source of high quality, regularly updated tutorials in said software, as well as their own tools and plugins. Founded by experienced industry professionals Steve Martin, Jill Martin, and Mark Spencer in 2002, Ripple Training isn’t a particularly big name in the field. But their courses, which mirror the in-person classes they teach, are very good quality, and you can download the videos for offline viewing. To see what they’re about, check out the free ‘get started’ lessons at the bottom of their homepage. Read more: 16 top online coding courses Learn to animate for kids 5 top tips for speedy learning View the full article

Accessing a wealth of font styles has just got easier for Creative Cloud customers thanks to hundreds of new additions from Monotype. With over 665 new fonts from 41 different type families, including retro fonts such as ITC Benguiat seen in smash-hit Netflix series Stranger Things, there's plenty here to enjoy in this Adobe update. Plenty of the fonts in this collection were designed in the twentieth century and had a huge impact upon their release. In fact, many have gone on to inspire popular variations over the years, so having the source material on hand is sure to be a welcome extra to type designers' toolkits. Get 15% off Adobe Creative Cloud with our exclusive deal As well as launching these new fonts, Adobe will also soon release type innovation tools for Illustrator CC and InDesign that will allow users to seamlessly browse, filter and sort through the roughly 9,000 fonts on Adobe Typkit without the hassle of having to leave their canvas. With nearly 700 additional fonts to choose from, we won't run through them all, but you can browse the entire collection on Adobe Typekit. We've rounded up some of the standout fonts for your browsing pleasure below, simply click left to right through the gallery with the arrows. Related articles: Famous logos redesigned as fonts 20 top free brush fonts 21 perfect font pairings View the full article

Likes. Retweets. Upvotes. They’ve all become common ways to gauge the popularity of our thoughts, and for those in the creative industries, our work. But are sites like Facebook, Twitter and Instagram a blessing or a curse for artists? Art techniques: top tutorials for painting and drawing Just like any innovation, it all depends on how you use them. If you’re monitoring the performance of your latest status before you go to bed, it might be time to reassess your relationship with social media. However, when used right, these platforms can reap amazing rewards. “I’ve discovered so many new artists who inspire me every day just from their social media posts,” says illustrator and Marvel comic artist Jen Bartel, who also uses social media to get her work in front of potential clients. Jen Bartel strives to stay authentic online “Working on comics often means working long hours in isolation, and finding those connections online is such an amazing lifeline for many of us,” she says. For Art Camp founder Noah Bradley, social media has overtaken traditional routes to exposure. Through Twitter, Instagram and Facebook we can share in each others’ triumphs Nicola Scott “I benefited from social media in building a fanbase for my work and connecting with fellow creators,” Bradley says. “I think I’d have had a harder time becoming as well known as I am now without it.” It isn’t all about business, though. For Sydney-based Wonder Woman artist Nicola Scott, living on the other side of the planet to where the rest of the industry is located feels less isolating thanks to social media. “I get far fewer opportunities to meet or catch up with peers, mentors and fans,” Scott says, “but through Twitter, Instagram and Facebook we can share in each others’ triumphs and slumps, promote and share our work.” Taking time out Despite these benefits, freelance illustrator Charles Chaisson is keen to point out an important social media side-effect. “Social media prompts the release of dopamine, which is a chemical associated with pleasure in your brain,” he says. “I think it’s important to be cognizant of how that interaction affects us mentally.” Like many users, Chaisson is limiting his time on social media in reaction to this. “What I tend to do is make sure that my phone is out of my line of sight,” he says. “It’s pretty easy to forget about checking your phone once it’s not attached to your body, or sitting in front of you at all times.” Charles Chaisson reasons that social media has changed the industry landscape for the better However, there’s more to managing a social media presence than willpower alone. With online profiles blurring the line between where a person ends and their work begins, it’s important for artists to make clear the distinction between the two. Jen Bartel uses her Twitter account for both work and fun, but errs towards the professional end of the spectrum. “I view social media as part of my job,” she says. “I also have designated times when I’m more active on it.” Yet even the best intentions can slip after a while. For artists struggling to use social media constructively, there are a few options to consider. Scheduling updates through tools such as Hootsuite, TweetDeck or Buffer takes away the distraction of endlessly updating feeds. Users can simply plan their content in one batch and then check back in to take care of replies whenever suits them. Despite the advantages of social media, Noah Bradley is wary of prioritising it Another option is to set up a dedicated artist account across all platforms, while keeping personal profiles separate. This is a popular way to contain thoughts and opinions that don’t need to find a wider audience. Although a batch of accounts isn’t for everyone. “That felt like way too much work for my taste,” says Bradley, who decided to step away from social media completely. “It was a source of stress I didn’t need in my life.” It turned out to be a good choice for Bradley, with the cost of online popularity worth less than emotional wellbeing: “I’m free to dive right into my creations. There’s no tickling feeling of social media at my back.” Artist appeal Artistic productivity isn’t always hindered by social media. In fact, the platforms provide a useful way to work out a draft. “Sharing WIPs with followers usually gives me a sense of how people will respond to the final artwork,” says Chaisson. A love of work stops Nicola Scott from getting distracted by social media “If you’re friends with a lot of artists, sometimes they’ll point out something that looks odd or needs to be tweaked that maybe you didn’t notice while working on the image yourself.” “I love seeing other artists work,” says Scott. “It can be fascinating to discover where and when an artist chooses to ‘finish’ their work.” Drawn together Even with their tendency to play with algorithms and change how users see posts, social media sites remain popular with artists. “Social media gives artists publicity that enable us to show our art to people around the world – which is pretty incredible if you think about it,” says Chaisson. For artists, this publicity can be a revenue lifeline. “I think that just speaks to the fact that artists are being increasingly devalued in the internet age, so any potential revenue streams are worth exploring,” says comic book artist Staz Johnson. Like many artists, Staz Johnson has benefitted professionally from social media Nothing’s perfect though, and following a recent migration of artists to the promising new pastures of ad-free social media site Vero, Bartel thinks a chronological timeline is what creatives are crying out for. “Instagram’s new algorithms have hurt a lot of people and the minute there’s a comparable platform, they’re going to jump ship,” she says. “I’m not sure that platform is necessarily Vero, but fingers crossed something comparable will be released soon.” Ultimately, Bartel still thinks that social media can be a force for good. “Before social media, artists had to rely a lot more on getting their work published through official channels. Now we control how much content we put in front of our followers. Opener image: Nicola Scott This article originally appeared in ImagineFX issue 160; subscribe here. 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