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The best kind of advertisement is one that doesn't feel like an advertisement. Marketing should be entertaining, and with Animatron Studio Pro Plan, you can learn how to create mobile-friendly content that's sure to boost your business. Animation is one of the most effective ways to tell a story, as Hollywood has proven time and again. With Animatron Studio, you'll gain the tools to create engaging animations and fun graphics, even if you have no coding experience or design background. Make everything from HTML banners, interesting presentations, helpful tutorials, and more. A simple, user-friendly interface allows you to create your design right there on the canvas. Enjoy unlimited projects, thousands upon thousands of royalty-free audio and video clips, and convenient email support. Get a Lifetime Subscription for only $49.99. Related articles: Perfect your animation portfolio with these tips Create slick UI animations Understand Disney's 12 principles of animation View the full article

This candid diagram speaks the truth The life of a jobbing creative can be filled with problems – from how to network to designing the perfect creative resume – and while there are plenty of ways to really annoy a graphic designer, a huge amount of frustration often comes from trying to find the right clients. This humorous Venn diagram shows the struggle every creative faces at one time or another. Do you want to sacrifice creative freedom for stability? Would you choose stress-free deadlines over money? Whichever choice you go for, you'll be losing out somewhere else. If this graphic is hitting too close to the bone, don't worry. Choosing the best priority is a dilemma faced by designers everywhere, at every point in their careers. So why do we keep doing it? So that one day, we'll hit that sweet balance in the middle. Related articles: How to become an art director 45 brilliant design portfolios to inspire you How to be a creative director View the full article

Researchers found 20 flaws in Samsung’s SmartThings Hub controller - opening up supported third-party smart home devices to attack. View the full article

Senator sends letter to NSA and NIST urging a mandate to stop using Adobe Flash by August 2019. View the full article

Design magazines have a number of functions: they let you know what's going on in the industry, inspire you, offer advice you can apply to your own design portfolio, provide you with insights from design superstars, go behind the scenes on the biggest and most experimental design projects – all that stuff. But design magazines are also obliged to look dead cool while artfully stacked up on your coffee table. We've picked out a selection of design magazines from around the world; titles with the best writing and photography, the coolest designs, and the top production values. We looked at big-selling design magazines that have been around for decades, and smaller, independent titles that dare to be different. Wallpaper* For interiors inspo, Wallpaper* can't be beaten The first of our heavyweight titles is Wallpaper*: 'the world's most important design and lifestyle magazine brand’. The monthly mag has readers in 100 countries, the majority employed in the creative industries, so it covers design from around the world in all its forms. You might see a story about Frida Kahlo next to one about Paris Fashion Week, something on wearable football kits beside a piece about a new bar in Buenos Aires. It's no good for Photoshop tips, but can't be beaten for #apartmentgoals. Computer Arts For practical advice, you can't beat Computer Arts Whatever stage of your career you're at – student or studio boss – Computer Arts is a cornerstone magazine. The monthly title champions graphic design, branding and illustration. It interviews the world's best studios and individual designers, but also regularly celebrates fresh new talent. The magazine goes behind the scenes on big projects to see how they're put together. It's one of our sister magazines, so we're a little biased, but where Computer Arts really comes into own is with career tips and advice: how to upgrade your skills, tips for making it as a freelancer, and what to do if you decide to quit your job. The covers always look super-smart too. A particular highlight is Computer Arts' annual cover design competition, run in association with D&AD New Blood. It's a chance for fledgling designers to show off their skills, and for industry pros to take a look at the best upcoming talent. You can see 2018's winning entry on the issue on sale now. Pick up a copy to check out the full shortlist, or check out last year's winners. Creative Review CR has been running since 1980 Our final big title is Creative Review: 'We celebrate the work that matters. And we dig into how and why it gets made. We challenge and champion the industry we love.' Since 1980, the title has been covering all quarters of the creative industries – not just art and design but advertising, film and TV, too. It interviews big-name creatives and analyses high-profile projects, looks at how things are made and why, inspires you to go and make your own stuff, and offers practical advice on how to run your own studio. Eye Eye has great coffee table appeal Eye calls itself 'the world’s most beautiful and collectable graphic design journal' – and it might just be. Aside from always having a killer front cover (this is definitely one to leave artfully stacked on the coffee table), the quarterly magazine offers some of the best writing around on design and 'visual culture' in general. For a taste of what to expect, a recent issue includes stories on Estonian design, the anatomy of a magazine, and an interview with the design director at the New York Times. Eye also does some pretty good student subscription deals. 99U 99U is made by Adobe, so you know you're in safe hands Another one of the best-looking magazines around is 99U. It’s aimed at everyone from designers and engineers to educators, marketers, artists and CEOs: ‘If you approach your work creatively, 99U’s goal is to help you find the inspiration to build an incredible career'. It's made by Adobe so you know you're in safe hands. The current quarterly issue covers Pentagram's Natasha Jen, an insider's tour of Berlin, and 10 designers sharing how they upset the status quo – firing their best client, good stuff like that. Communication Arts This US-focused mag is aimed at creative professionals Communication Arts covers design, illustration, typography and photography, as well as advertising and interactive fields. It's US-focused and is for people in the industry more than general hobbyists. The bimonthly magazine is at its best when interviewing designers and design studios – the Surrealist photographer from Portland; the experimental marketing agency in San Francisco – about the work they make. The Great Discontent TGD specialises in longform, in-depth interviews The Great Discontent started out online but it's definitely even better in print. The title specialises in big, proper, longform interviews – in the tradition of literary magazine the Paris Review – with artists, writers, graphic designers, photographers… people from all corners of the arts. You even get the odd musician. It attracts big names like Michael Bierut and Stefan Sagmeister, but the detailed mix of biography and practical advice makes every interview worth your time. The magazine itself is quality, too – and is available in hardcover, as a magazine, or as a travel-sized version. B magazine Each issue of B focuses entirely on one specific company Strictly speaking, B isn't a design magazine. Instead, each bimonthly issue focuses on one specific company, and the 'untold stories behind a brand … its sentiment and culture.' It's a good mix too: there are companies like Netflix, Airbnb and Google, alongside notebook-maker Moleskine, footwear specialist Danner, and outdoor clothing brand Patagonia. Patagonia, for example, based in California, lets its people to go surfing when the waves are up, and make up the time later. The system apparently increases productivity. It's this level of detail that makes the magazine a good read for studio bosses or anyone interested in brand marketing and management. FORM Each biannual issue of FORM has a particular theme Leading design writer Steven Heller called FORM the best design magazine in the world, 'for its holistic coverage of industrial, product, graphic, and hybrid designs.' The magazine prides itself on being a print title first and foremost, so it does all the things that print titles do best: in-depth, long-form articles alongside quality photographs and illustrations. The covers are always exceptional, and it’s bilingual too: German and English. Each biannual issue has a theme. It could be a country (Mexico, South Korea), a topic (sport, designing protest), or something more abstract (danger, failure). Printed Pages Printed Pages is exceptionally well put-together Printed Pages is a biannual magazine that covers all areas of art and design, and presents a 'curated view of the best creative work we’ve seen in the past six months’ as well as ‘a host of feature interviews with a list of names who are currently making their mark on the creative world’. The current issue's recurring theme is activism and using creativity as a voice for positive change. It includes interviews with designers Sagmeister & Walsh, artists Gilbert and George, and street photographer Joel Meyerowitz. Exceptionally put-together, this one also passes the coffee table test with flying colours. Read more: 10 ways to make your magazine cover stand out 66 brilliant print adverts Create special print finishes in InDesign View the full article

Are you ready for Friday's blood moon? On Friday 27 July, photographers will be training their lenses on the night sky as they attempt to capture the longest, reddest and most dramatic total lunar eclipse for decades: the eerie phenomenon known as a blood moon. For over an hour, the moon will turn a vivid orangey-red colour for lucky sky-gazers in the UK, Europe, Africa and Asia – weather permitting, of course. Compared to the flash-in-the-pan occurrence of a total solar eclipse, a dramatic total lunar eclipse such as this is a gift to photograph, provided you have a decent zoom lens. Our sister site Digital Camera World has some great advice to photograph the blood moon yourself on 27 July 2018. But if you're not lucky enough to see it – or don't have the photography skills to capture it to your satisfaction – we've dug out three stunning blood moon images you can download today. Aside from editorial use, striking, atmospheric moon images such as these are ideal for common design projects ranging from album covers to posters, flyers and more. So read on for our top picks of the very best blood moon images... 01. Blood moon gradient At the start and end of the total lunar eclipse, a beautiful gradient will appear on the blood moon You may have seen a partial lunar eclipse before: the full moon becomes much duller, and therefore easier to photograph. But it's only during a total lunar eclipse such as the blood moon on 27 July that the moon turns red, as it moves into the darkest part of the Earth's shadow. It's a similar principle to a sunset being red, because the light has to travel through a lot of atmosphere before reaching our eyes. During a total lunar eclipse, sunlight is bent through the Earth’s atmosphere and onto the moon. As the moon enters the earth's shadow, the edge takes on a pinky-orangey-brown hue before the whole face gradually turns red, and then fades out again as the eclipse ends. The result is a soft gradient that's captured beautifully in the image above, shot by Danita Delimont in Seattle, USA. 02. Blood moon with landscape In the UK, the blood moon will be low in the sky – making interesting landscape compositions possible While a total solar eclipse is only visible for a few fleeting minutes, and from a very specific area of the planet only, a total lunar eclipse can be seen from the entire night side of the planet. While the blood moon on 27 July 2018 can be seen from Europe, Africa and Asia, it will be in different stages and positions in the night sky. The UK, for instance, will miss the first 20 minutes of totality, and the Blood Moon will already be red when it comes into view at 8:49pm. The positive side of this is that the blood moon will be low enough in the sky to be captured as part of an interesting composition. In the example above, shot by Darren Robinson in British Columbia, Canada, the silhouettes of trees in the foreground frame the blood moon nicely. 03. Blood moon in close-up This final Blood moon image – shot by John Sanford in 1996, and part of the Science Photo Library collection – perfectly captures the moment immediately after the totality phase, with the bright highlight at the top left and stark, moody shadow at the bottom right adding a satisfyingly three-dimensional feel to the image. This kind of stunning close-up shot demands the ideal combination of high-end photographic equipment, finely-honed creative skills and years of professional experience – not to mention the perfect timing and atmospheric conditions. Once again, if you fancy your chances at achieving that ideal balance, you'll find top tips to photograph the blood moon over at Digital Camera World. Good luck, enjoy yourself – but if you want premium quality without the effort, all three of the above examples can be found at Getty Images. Related articles: 5 great Instagram Stories templates for designers 4 design tools you never knew you needed 6 ways not to get hired as a designer View the full article

There's a vast ocean of game-changing Google products out there. Google's Android and Chrome OS operating systems might be slowly but steadily taking over the world – from smartphones and laptops to smart fridges and self-driving cars – but Google isn't just a software company. It also now produces a lot of its own hardware too, some of which is pretty amazing. The creative's guide to all Amazon devices You probably already know that Google has its own phone, the Pixel 2, and its own laptop, the Pixelbook. But did you know it's also behind everything from a stylus to smart speakers, and even security products ranging from an intelligent smoke alarm to a web-connected video doorbell? If you're looking to make your workplace, studio or home a more productive, secure and fun place, these clever Google devices have a lot to offer. We've put together this special guide to Google's own products to help you decide which one is right for you, and you'll also find today's best deals on each to save you a wad of cash. Smartphone and accessories Google's Pixel 2 has quickly become one of the world's most popular smartphones. And Google hasn't stopped there. It also produces Pixel Buds, its own Bluetooth headphones, and a range of cool 'Made by Google' smartphone cases, as we detail below. The Pixel 2 has the best smartphone camera on the market today Is the Pixel 2 the right smartphone for you? If taking photos is important to you, it’s certainly worth considering, as it quite simply has the best camera on any smartphone right now. It’s also water-resistant and comes with the Google Assistant (the Active Edge feature means you can just squeeze the sides of your phone to bring that up). On the downside, the five-inch HD screen is 'only' 1080p, and the device lacks a headphone jack. But if you’re happy using Bluetooth headphones, don’t need a 4K screen, and really value the quality of your photos, this is one the best smartphones you can buy right now. Google Pixel Buds work wirelessly and integrate with Google Assistant The Google Pixel 2 smartphone lacks a headphone jack – so an obvious Google product to come next was its own wireless Bluetooth headphones, and Google Pixel Buds are the result. They work with both Android (5.0 or higher) and iOS devices (10.0 or higher). They’re not deep in-ear buds, but rest on your ear and point towards your ear canal, making them very comfortable in use. And they provide up to five hours of continuous listening on a single charge. Unfortunately they didn’t actually work properly on release, attracting huge amounts of bad press. The May 2018 update has now sorted out most of these issues, but many of the features are still a little fiddly to use. And the headline feature – the use of Google Assistant to translate conversations in real-time with the Pixel 2 – still doesn’t actually work very well in practice. The Google Fabric Case for Pixel 2 feels lovely to the touch There are plenty of third-party cases for the Google Pixel 2, but some of the best are made by Google itself. The friendliest looking has to be the Google Fabric Case, which has a knitted exterior and a soft microfibre liner to help protect your phone. This Google product comes in four colours: Carbon, Cement, Midnight and Coral. Like all three cases featured here, it's also Active Edge compatible, which means you can squeeze the sides to bring up Google Assistant. Customise your Pixel 2 with Google's own Live Case As a creative, you may want to put your own visual stamp on your Pixel 2 case, and Google's Live Case gives you just that opportunity. You can customise it using either your own photos or artwork, or selected images provided by Google. You can even update your phone's wallpaper to match it by using the Live Case app. It's a little fiddly to remove and replace your phone, but nothing you don't quickly get used to. The OtterBox Defender Case offers a high level of protection for your Pixel 2 If your priority is to protect your phone from accidental drops, the Otterbox Defender is the case for you. The company is well known for its rugged cases, and it's teamed up with Google under the Made by Google program to create this case for the Pixel 2. A solid polycarbonate shell and rubber slipcover work together to provide serious protection against drops, dust and scratches. It might be a bit pricier than other cases, but you can rest assured that your phone is protected. Google Home smart speakers If you’re looking for a smart speaker for your home, then remember it’s not all about Alexa. Google has its own system, Google Assistant, which allows you to do everything from playing a track on Spotify to controlling your smart home by voice alone. Here are two very affordable – and also very capable – choices to get you started... The Google Home Mini is a surprisingly capable smart speaker for the price If you're totally new to voice assistants, then the Google Home Mini is a small, cheap and very capable device for getting started. It’s puck-shaped like the Amazon Dot, but with fabric-texture on the top for a softer, friendlier look. Available in a range of colours, this Google product has four flashing LED lights that indicates when it’s listening to your voice. Don't expect to use it as your main music speaker, as the sound is fairly poor quality, but otherwise this is an excellent budget buy. The Google Home speaker is better for music than the Google Home Mini The Google Home is both bigger and more expensive than the Google Home Mini, and looks more like stylish. The difference in functionality between the two isn’t much, but the main advantage the Google Home has is its vastly better sound quality. It also charges by Micro USB rather than DC, and you can adjust the volume via the touch panel, which is much easier than tapping on the left or right of the front, as you do on the Mini. If you’re expecting to listen to a lot of music, then the Google Home is well worth the higher price. Chromebook and stylus Spend a lot of time on the move and want something lightweight, fast and portable? Chromebooks are increasingly capable, not just for admin and productivity tasks, but for creative work too. Here we present the best one on the market, plus a lovely stylus to complement it. Quite simply the best Chromebook on the market Tired of buying Windows or Mac laptops that take an age to boot up and are always crashing, or running out of battery? Want something light and super-portable that you can start up in seconds? Then consider a Chromebook. You may not be able to run full versions of design software like Photoshop, or the kind of productivity tools you may be used to, such as Microsoft Word. But for accessing Google Drive, checking and writing emails and surfing the web, they’re perfect. And for limited design tasks, Android versions of several Adobe apps, including Photoshop Express, Lightroom for mobile, Photoshop Mix, Illustrator Draw, Comp CC, and the Creative Cloud app, are supported on Chromebooks as well. The Google Pixelbook is quite simply the best Chromebook on the market right now, with an excellent keyboard, a beautiful 2,400 x 1,600 pixel display, super-speedy Intel Core i5 and i7 processors and a promised 10 hours of use on a single charge, based on what Google calls “a mix of standby, web browsing and other use”. The Google Pixelbook Pen offers good pressure sensitivity and low latency If you want to do design work on the move, using your Google Pixelbook, then the Google Pixelbook Pen is a must-buy accessory. Similar to the Apple Pencil in use, this is a top-quality stylus that offers excellent pressure sensitivity and tilt support, making drawing and sketching on the screen a pleasurable, responsive experience. There’s also a button that links the Pen to Google Assistant, so for example you can circle some text and perform a web search. However, we’ve yet to see any compelling uses for this feature, and it’s also a shame that there’s no way to attach the Pen to your Google Pixelbook. Virtual reality viewers If you're a little bit curious about this virtual reality thing, but don't want spend a ton of money on top-end equipment, there are two simple Google products that enable you to access VR content using your smartphone: one cheap, one even cheaper... Google Daydream View is a cheap and easy way to try out VR Google Daydream View is a VR headset that connects to a compatible Android phone. While you’ll get a better virtual reality experience with a higher-end, PC-powered VR headset, the Daydream is a great option if you’re just interested in trying out VR without spending a huge amount of money. It’s compatible with Daydream-ready phones, including Google Pixel 2, Google Pixel, Samsung Galaxy S8, S8+ & Note 8, Moto Z & Z2 and more (there’s a full list here). And it’s very easy to use: you just have to download an app on your phone, place your phone inside the viewer, and you’re off, using the included controller to operate it. Google Cardboard is a (very) cheap and cheerful VR viewer Google Cardboard is an earlier, more rudimentary VR viewer from Google that's literally made of cardboard. But while it's been surpassed by the more sophisticated Google Daydream View (above), Google Cardboard is still available, and is super cheap. Of course, as you'd expect, it's also lower-spec and fiddlier to use. For example, you will need to remove your phone from the device to switch between applications, unlike on its successor. But on the plus side, that does mean it's compatible with a far wider range of phones. Nest smart home kit While Google products like the Pixel 2 and Pixelbook may get more attention, Google's been quietly reinventing home security products by incorporating new technologies such as voice recognition, facial recognition and real-time streaming. Read on to find out how protecting your home and family is becoming easier and more secure than ever. Nest Hello lets you answer your door remotely Nest was one of the first companies in the UK to delve into the new and exciting world of smart home technology, and was bought by Google in 2014. Recently launched in the UK, the Nest Hello is a hardwired smart video doorbell with facial recognition. A camera and microphone enable you to not only see who’s at the door but have a conversation with them without actually being there. You can play a pre-recorded message to visitors through the app on the doorbell, and even have ‘conversation without speaking’ by selecting from a set of pre-recorded soundbites. That might sound rude, but if you’re in a meeting where you can type into your phone but don’t want to speak into it, that could be quite handy. Finally, if you take out a subscription service, the Nest Hello will use images of known faces that you share with your account, and use facial recognition to tell you who is at the door. Control your home's heating with the Nest Learning Thermostat Nest Learning Thermostat aims to pay for itself over time by adjusting the heating and cooling of your house in ways that will save you money. Better still, some electricity providers will give you a rebate just for buying one. It learns over time what temperature you prefer and it’s estimated that the device will pay for itself within two years. Of course, that’s going to vary from person to person, depending on how inefficient their heating and cooling habits are in the first place. If you don’t feel you pay enough attention to how much money you’re burning, and want to help the environment at the same time, this clever Google device should help you sleep better at night. Guard against smoke and CO2 with Nest Protect Nest Protect is a smart smoke and carbon monoxide alarm that can connect to your smartphone, sending you updates when you're away from your home. It also offers spoken alerts and links up to other devices in your smart home, so for example you might want the lights to come on automatically when there’s an emergency. There’s also a circular LED that provides colour-coded alerts: yellow means smoke or carbon monoxide haven’t reached critical levels; red means you need get out now. It all adds up to superior peace of mind that your home, you and your loved ones will be protected, whether you’re home and away. See what's going on in your home remotely with the Nest Cam Indoor Nest does a great line in security cameras that can stream footage to your phone, 24 hours a day, and the Nest Camera Indoor is the basic model. As with all the models in the range, you get 1080p HD footage, night vision, two-way audio, customised alerts, and compatibility with a number of smart home devices, such as the Philips Hue smart lights. A good, solid device for anyone who wants to monitor their home’s security in real time. However note that beyond a trial period, you will need a subscription to access certain features and to record and store video to the cloud: full details here. The Nest Cam Outdoor is constructed for use outside the home as well as in As you might expect, the Nest Cam Outdoor is essentially the same as the Nest Cam Indoor, but with a rugged build and waterproof (IP65 rated), making it suitable for use outside of your home too. This is a wired camera so will require installation. Also bear in mind that it needs to be within range of your wireless router, which restricts what you can do with it, and that you will need the subscription service to take use some of the camera’s features and to record video to the Cloud. The Nest Cam IQ Indoor comes with facial recognition smarts The Nest Cam IQ Indoor improves on the Nest Cam Indoor is two main ways. Firstly, it has a 4K sensor which means that you can zoom in in finer detail to your footage (although note that this is still streamed in 1080p). It also comes with facial recognition technology, so it can let you know if someone caught on camera is a familiar or unfamiliar face. Be aware, though, that you will need the subscription service to use these headline features, and to record video to the Cloud. Chromecast Thanks to Chromecast, millions of us no longer have to watch our favourite TV streaming shows on our laptops but can enjoy them on our full-sized TV sets. But there's no longer just one Chromecast, but three. We explain what they are, and which one you need. The top of the range Chromecast for video streaming Google's range of Chromecast devices plug into your TV’s HDMI port, allowing you to stream content to it with your home Wi-Fi. The latest and greatest model, as you’d expect from the name, is the Chromecast Ultra. The main benefit of this more expensive model is that you can stream 4K and HDR content. Obviously, to do that you’ll also need a 4K TV, a source of 4K content, and a fast Wi-Fi network. The original Chromecast is still perfect for streaming in HD If you don’t have a 4K TV, or are happy to stream in 'just' 1080p HD video, then the basic Chromecast is the obvious option. Beyond the lack of 4K and HDR support, it does pretty much everything the Chromecast Ultra (above) does, but at a lower price. Because 1080p takes up less data, you won’t need to worry so much about your Wi-Fi network keeping up either. Chromecast Audio does for your music system what Chromecast does for your TV In the same way that the Chromecast and the Chromecast Ultra make it easy to stream video to your TV, the Chromecast Audio is a Google product makes it easy to stream music to speakers and home audio systems. You can stream from Android devices, and it works with some iPhone and iPad apps, although not all, most notably Apple Music or Amazon Prime Music (this is, however, supported on Android). It also offers voice control via the Google Assistant. In short, this is a great Google device for controlling your multiroom music, unless you rely heavily on particular music services that are unsupported. Read more: The expert guide to working from home 9 things nobody tells you about going freelance Our pick of the best graphics tablets in 2018 View the full article

Every now and again, a film comes out which is a VFX game-changer. It might be a 3d movie, it might involve some incredible explosions or character design, or even some invisible VFX that most viewers won't notice. We asked the readers of Creative Bloq and 3D World which VFX films had most impressed them, or defined or changed the industry, and their top 10 movies are listed below. The criteria to be included in the top 10 was simple: the movie must have a running time of 60 minutes or longer; have received a full cinematic release; and have a significant or innovative element of CG VFX work. We've intentionally omitted CG animations and only included films that blend CG and live action. Has your favourite VFX film made the final cut? 10. Dawn of the Planet of the Apes Weta's digital CG creatures stole the show in this 2014 sequel Building on the success of 2011's Rise of the Planet of the Apes, this tale of humans and super-intelligent apes battling for survival in a post-apocalyptic near-future is a technological masterpiece. Weta Digital's CG creatures are very much the stars of the show, and have minutes of screen time with no human interaction. It feels unfair to single out individual scenes, as the effects are incredible throughout. But it's the intimate moments that really stand out. Those shots in which human actors react to computer-generated apes carry genuine emotional depth. For once, CG characters are not simply there to advance the action but to perform: to carry a narrative arc. Andy Serkis and the other actors helped portray the creatures with mocap The digital apes – 12 hero characters, plus around 20 'extras' – were created using a mixture of hand animation and motion-capture footage of Andy Serkis and the other actors portraying the creatures. Much of the mocap was shot on location, which meant an overhaul of the technology. This kit needed to be hauled up mountains, rained on, and generally abused, as Weta Digital sought to capture the most authentic performances possible. How would intelligent apes fight? That was a key challenge for the team When the gloves did come off and the apes fought, it created new problems – artistically, the actors had to discover how intelligent apes would fight (no biting!), while director Matt Reeves had to get a grip on new workflows, filming the actors in a virtual space and setting beats and camera angles afterward, using virtual cameras. The hard work resulted in three VES Awards, plus an Oscar nomination for Best Visual Effects. Maybe by the time of the third movie in the series, Hollywood will have accepted motion-captured performances enough to nominate Andy Serkis for Best Actor. 09. Pacific Rim Director Guillermo del Toro brought us some badass robots Director Guillermo del Toro's epic blockbuster tells the tale of badass robots saving humankind from monstrous sea creatures. For the work, del Toro assembled a 'dream team' of concept designers, including veteran sci-fi artist Wayne Barlowe, also commissioning maquettes of all the major Kaiju (the sea monsters) and Jaeger (the humanoid war machines) from practical effects firm Spectral Motion. The sheer scale of the Jaegers was something to behold Industrial Light & Magic led the CG work, along with supporting facilities including Ghost FX, Hybride, Rodeo FX and Base FX. "We put a lot of time into the [Jaegers] Gipsy Danger and Striker Eureka, because they have the most screen time and the most actions," says ILM animation supervisor Hal Hickel. "We focused on how the shoulders and hips would work and how all the mechanisms would fit together. Along the way we'd adjust proportions and other things [based on] Guillermo's input, and we'd then start to move them and see what they looked like in various poses. We focused on how all the mechanisms would fit together. ILM animation supervisor Hal Hikel says that body mechanics were a real focus "Once we'd built them in the computer, we were able to start animating them and figuring out things like whether arms needed to be longer or see if the legs looked a little stumpy on a given lens and from a certain angle. There were tons of decisions like this." In total, ILM spent months working on Gipsy Danger. "We put a lot of detail into the model, but carefully planned where it was needed and when," says Hickel. "We'd look ahead at a sequence and would dress the amount of detail accordingly." They spent their time wisely – the Pacific Rim creatures instantly joined the canon of beloved movie monsters that audiences love to hate and fear in equal measure, while the visual effects landed six VES Award nominations, one of them for Hickel himself. 08. Gravity Alfonso Cuarón created event cinema with Gravity Some films are bogged down with effects; others are light fare. But Alfonso Cuarón's Gravity, set in the weightlessness of space, is a rare union of ethereal CG work and a heavyweight emotional storyline. Anchored by Sandra Bullock's central performance – or facial performance, at least: for much of the movie, her spacesuit-clad body is animated digitally – as stranded astronaut Dr. Ryan Stone, Framestore's artists created an entire digital world. Sandra Bullock's spacesuit-clad body was animated digitally "Gravity is a hybrid: it's partly live-action, but is similar to [an animated feature] in many respects," says animation supervisor Max Solomon. "Very large parts of it are fully CG." Those 'parts' include the space shuttles, the Hubble Telescope, the International Space Station, and the Earth itself. All are on screen for long periods of time: the opening tracking shot alone lasts 13 minutes. At the start of the pitch process, it wasn't clear just how much of Gravity would have to be computer-generated. Although early tests were done using more traditional methods such as shooting actors on wire rigs and building physical sets, it soon became clear that the challenges of simulating weightlessness and characters spinning off into the darkness could not be overcome practically. As in so many previous cases, digital effects became the silent star of the film. The effects in Gravity never get in the way of the story Very few directors are good as Cuarón at making visual effects feel like an organic part of the action. "I think that is what is special about Gravity," says Solomon. "As a space film, it doesn't feel like a VFX film: it feels more like a documentary. That was always something Alfonso stipulated from the beginning, that we were a fly-on-the-wall camera crew following these astronauts through their ordeal." And that's what's so seductive about Gravity: it makes space seem exciting and scary, but also tricks you into thinking that it's real. 07. Avengers: Age of Ultron "Ultron is probably the most elaborate rig we have ever done." The sequel to 2012 hit Avengers Assemble, Age of Ultron was Marvel Studios' biggest cinematic thrill ride to date. Joss Whedon returned to write and direct, along with visual effects supervisor Chris Townsend, who managed over 10 studios for the last Avengers film and approximately 20 studios this time around. Industrial Light & Magic handled 800 of the VFX shots, including the opening and closing battles, and the three main CG characters – Hulk, Iron Man in all his forms, and new anti-hero Ultron – dividing the work between teams in San Francisco, Singapore, Vancouver and London. Hulk takes centre stage, appearing in 50% more shots than in the previous movie As in the previous movie, Hulk is a highlight of the visual effects. With the digital character appearing in 50 per cent more shots than in the previous film, the studio took a new approach to the green giant’s muscles and flesh. Typically, ILM's artists model the final form for a character's body, then put muscles inside and skin simulations on top. For Ultron, character TDs Sean Comer and Abs Jahromi worked with a professor of medicine to devise a new multi-layer muscle system. Spectacualr VFX were never far away in the latest Avengers movie "We built the rig, put the muscle system on top, and the skin on top of that," explains animation director Marc Chu. "So when we animated Hulk, the rig would reverse engineer what the muscles were doing and realistically drive the flesh simulation. In the previous film, we had to do corrections to keep Hulk on model, but the new system [did that semi-automatically]. We could still correct anything that penetrated, and adjust the jiggle to taste, but it made us six times more efficient." With the movie's other key effects expanding on those of its predecessor in similar ways, the result is a spectacle of superheroic proportions, each scene delivering a range of new visual treats. 06. The Matrix Few films have had as much influence on movie effects as The Matrix Released in spring 1999, The Matrix was the surprise science fiction hit that beat The Phantom Menace to the finish line in the race for the Academy Award for Visual Effects. It launched the career of first-time visual effects supervisor John Gaeta, then just 34, and goes down in history as the film that raised the bar for the choreography of fight sequences and reinvented cinematography. Its most iconic scene is a frozen moment that has become known as 'bullet time', in which Neo (Keanu Reeves) dodges bullets fired at him by an agent, while the camera circles around. The sequence still captivates today. Bullet time blew our minds in '99, and it still looks amazing today Gaeta's team trained a circular array of 122 still cameras on Keanu Reeves, then triggered them in sequence. Because cameras located on one side of Reeves were visible to those on the other, Gaeta needed a way of generating photorealistic sets so the camera could be removed from frame. Gaeta and Manex VFX supervisor Kim Libreri found the answer at Siggraph 1997 in 'The Campanile Movie', a short film by Paul Debevec, George Borshukov and Yizhou Yu. Photographs of buildings were reprojected onto their CG models using new, best-fit algorithms. The result was the birth of virtual cinematography. The idea of thinking in code has never been better represented "All my friends who worked on the film were enablers who allowed us to take risks," remembers Gaeta. "That was very important to me at that time, and gave me confidence in everything else I've done since. The Wachowskis give their designers quite a bit of creative freedom, and they really engaged, encouraged and inspired." Reflecting on the film in 2007, Gaeta noted that there were many shots he'd still like to tweak. "There are a lot of shots that, in the light of what you can do today, are pretty crude. But they still represent ideas the filmmakers were trying to represent." To judge from The Matrix's placement in the poll, they're ideas that endure to this day. 05. Interstellar Christopher Nolan doesn't do things by halves in this Oscar-winning outing Collaborating once more with director Christopher Nolan, Interstellar challenged Double Negative to visualise the un-visualisable: realistic alien worlds, a mathematically accurate black hole, and the Tesseract, a four-dimensional space with time as a physical dimension. Theoretical physicist Kip Thorne provided the maths, the studio's artists delivered the visuals, and Hollywood awarded them an Oscar. Lots of science went into this. But more importantly, it looks really cool For many viewers, the most memorable shot from the movie is the depiction of the black hole Gargantua, for which Double Negative needed to show the realistic behaviour of the black hole and a wormhole, right down to the lighting – or lack thereof. For this, Double Negative was lucky to have, in Oliver James, a chief scientist with a first-class degree in physics from the University of Oxford. To process the equations Kip Thorne – who also acted as executive producer on the movie – had written to describe light paths around a black hole, James and his team wrote a new physically based renderer: DnGR (Double Negative General Relativity). It enabled artists to generate realistic images of the hole and its gravitational lens by setting three key parameters: rate of spin, mass and diameter. Theoretical physicist Kip Thorne provided the maths for this VFX masterclass The work broke new ground, both artistically and scientifically: a paper on the research written by James, Thorne, CG supervisor Eugenie von Tunzelmann and VFX supervisor Paul Franklin was recently published in the American Journal of Physics – which promptly called for the movie to be shown in school science lessons to help explain general relativity. In an interview with BBC News, Christopher Nolan commented that reactions like these were the "ultimate goal" of the movie. "We hoped that by dramatising science and making it... entertaining for kids we might inspire some of the astronauts of tomorrow," he said. 04. Inception Mind bending VFX were at the heart of Inception's appeal With Inception, director Christopher Nolan did the unthinkable: produced a blockbuster movie with an arthouse aesthetic. While the visuals are on a scale equal to his Batman movies, at its heart, the story is as tricksy as his celebrated low-budget debut Memento. Rather than rely on multiple vendors to furnish the 500-odd digital effects shots (accounting for some 25 per cent of the movie’s running time), Nolan was keen to let Double Negative handle all the CG work, says VFX supervisor Paul Franklin. "Usually you'll have an independent VFX supervisor who divides the work across several studios, sometimes all over the world. Chris wanted to simplify the relationship. He described it more like a 1970s model, where the VFX department would operate within a film studio." Double Negative’s VFX won the studio its first Oscar Whatever the reasoning, it worked. The team beautifully realised multiple-level dream worlds in which the laws of nature cease to apply. One scene in particular pushed audience's perceptions of what VFX could achieve. When architect Ariadne starts to "mess with the physics of it all" within her own dreamscape, she casually folds up Paris in front of Leonardo DiCaprio's unbelieving eyes. Double Negative worked on more than 500 digital effects shots To achieve the intricate effect, the Double Negative team spent two weeks taking thousands of stills and working from millimetre-accurate LIDAR scans to replicate a photorealistic model of four Parisian apartment blocks, populating them with digital cars and people. The team had to devise a further series of cheats to fully achieve the shots needed, including hiding intersecting buildings behind other geometry and a set of careful camera moves. The work won Double Negative its first Academy Award for Visual Effects. Four years later, the studio would win again – this time for Interstellar, featured above. 03. Terminator 2: Judgement Day "More groundbreaking than Jurassic Park," says Dennis Muren "I think Terminator 2 was more groundbreaking than Jurassic Park," says Dennis Muren, visual effects supervisor on – and VFX Oscar winner for – the classic sci-fi movie. "We had to put a lot of things in place for Terminator 2: complex rendering, compositing, and so on. But no one saw it until Jurassic Park." After finishing work on the The Abyss in 1989, Muren took a year off. During that time, he read a 1,200-page book on CG. "I couldn’t figure out how it worked, but I wasn't afraid of it," he says. "I could tell Jim [director James Cameron], 'Yep, we can do this.'" Meet the T-1000, Terminator 2’s iconic liquid metal cyborg The 'this' in question was the T-1000, Terminator 2's iconic liquid metal cyborg. Compositing it with correct reflection maps to anchor it in the frame was difficult. "We had background plates and that environment needed to reflect in the character," says Muren. "The distortions had to remain consistent without creating big tears in the maps." Another challenge was animation: when the T-1000 adopted actor Robert Patrick's form, animators moved it like a person. When it was liquid, animators moved the fluid. "We figured out as much as we could to keep the geometry from tearing," says Muren. "But we had an early copy of Photoshop, so if something didn't work [art director] Doug Chiang would go in and paint the frame." Digital in, digital out: Terminator 2 was the first film where effects were fully digital T2's biggest innovation, however, may have been that for the first time, the effects process was fully digital. "We had a film recorder that actually worked," Muren says. "We had a scanner that we had worked on with Kodak. So with the scanner, film recorder and our copy of Photoshop, we completed the triangle. It was the first time we could do digital in, digital manipulation and digital out." 02. Jurassic Park Number 1 for many people, Jurassic Park just misses out on the top spot Why is Jurassic Park remembered so fondly for its visual effects? No-one knows the answer to that question better than Dennis Muren at Industrial Light & Magic, who won one of his eight visual effects Oscars for the film. "It was the first time we had been able to put living, breathing synthetic animals in a live-action movie," says Muren. "No-one had seen anything like it. The reality hadn't been done before; the naturalism." Muren credits dinosaur supervisor Phil Tippett and, of course, director Steven Spielberg for pushing the unsafe documentary film style. "We wanted the animals to create the feeling that we wouldn't know what was going to happen next," Muren says. Could people really be scared by VFX? Damn straight, they could Because creating CG animals was so new, Muren set up two systems: stop motion and CG. "The animators hadn't worked on real animals," he says. "No-one had." Even though the CG animals soon proved themselves, Stan Winston's puppets starred in close-ups in most of the film. "When we started, I didn't think we could do anything closer than a full-length dinosaur in CG. But we pushed closer and closer. Near the end of the film, in the rotunda sequence when the T rex walks in and the raptor jumps on its back, I was confident enough to try close-ups." The director famously didn't want to use CG on Jurassic Park ILM's 56 CG shots and 6.5 minutes of screen time also included a digi-double for the lawyer (actor Martin Ferrero) as the T rex snags him out of a bathroom, and a face replacement for a character who falls through the floorboards during a raptor attack. Muren recalls: "George [Lucas] came by occasionally, and one time said, 'This looks pretty good.' I said: 'Yeah, I'm hoping we can do something like 2001, something brand new.' He said: 'You guys are doing it and you don't know it.' It wasn't until it was over that I realised he was probably right." 01. Avatar Avatar was, and still is, a VFX masterpiece Back in 1996, James Cameron announced that he would be creating a science-fiction film called Avatar that would feature photorealistic computer-generated characters. Soon after, it had to be shelved as the technology of the time could not satisfy the creative desires of the director. But by 2009, things had caught up and Cameron, with help from a range of VFX studios, was about to make movie history. Cameron created a whole new, fantastical CG world Avatar wasn't just a film, but a whole new, fantastical CG world – and the level of detail was astonishing. "James Cameron and his team spent a lot of time designing the horticulture of the environment," says Dan Lemmon, VFX supervisor at Weta Digital, which created over 1,800 effects shots for the movie. "There are very detailed and very exotic plants, many modelled by hand. Most of them were executed at fairly high detail. Larger trees had up to 1.2 million polygons." A movie of Avatar's scale had never been attempted before, or since As any given frame might have hundreds of thousands of plants to be rendered, efficiency was crucial. "We had to use proxy versions that would act as stand-ins in Maya and render procedurally in RenderMan," Lemmon says. "We put together level-of-detail strategies so that we could have more detail up close, and less geometry and detail as the camera gets further away." And let's not forget just how BAD ASS the ships in Avatar were The rendering time was further increased by the fact that Avatar was released in stereoscopic 3D: then still a relatively untested medium. On working with live-action stereo footage, Lemmon notes, "Before, we just worried about mattes, green spills, that sort of thing. Those issues become more complicated once you get into stereo. "For example, things will look slightly shinier in one eye than the other." The mammoth effort that Weta put in to resolving these technical problems paid off: Avatar became the highest-grossing film of all time and changed the industry’s view of stereoscopic 3D overnight. This article first appeared in 3D World magazine, the world's leading 3D and VFX magazine. Subscribe here. Related articles: Will Brexit wreck the VFX industry? 27 free 3D models Top blockbuster VFX you're not meant to see View the full article

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Once upon a time, the word ‘automation’ conjured mainly negative connotations in the mind of the professional web designer. It made you think of programmatic web design tools that generated cheap but badly coded sites for those who couldn’t afford the services of a professional designer. Or perhaps the sort of basic service you yourself would offer a cash-poor client, using a pre-built WordPress theme or Drupal template. Main illustration: Marcus Faint But all that is changing. The automation of web design is not just important to clients at the lower end of the food chain. It’s increasingly relevant to those at the upper end too. That’s because in a world where the biggest companies are increasingly design-driven – think Airbnb, Uber or Deliveroo – the digital services needed to keep today’s global consumers happy now far outstrip the capabilities of a single designer or small team crafting individual, bespoke pages. And as clients demand bigger and more complex solutions, there’s been a rise in the popularity of component libraries and design systems, bringing an element of automation into the design process and helping it scale. If you’re a small web shop working mainly for small businesses, this may not have impacted on you… yet. But with no way of knowing where your clients, your career or indeed society as a whole is going next, it’s still a trend we all need to know about. So we’re examining where the automation train is heading and when might be a good time to jump on board. Pattern libraries The simplest form of automation in web design is the pattern library. Also known as the component library or pattern language, it’s essentially a collection of reusable UI elements that make up a website. These may include, for example, form inputs, buttons, spans, navigation bars, image sliders, related links and social-media features. Lonely Planet’s pattern library defines a wide range UI components A pattern library defines what all these elements look like, along with how they function and also how they are coded. Some good examples to examine include those of MailChimp, Lonely Planet and also A List Apart. But just because pattern libraries are trendy doesn’t mean you should necessarily use them. “I’d say that if you only have one website and one set of components, a pattern library might be overkill,” says Andy Budd, co-founder and CEO of Brighton-based UX consultancy Clearleft. “If you’ve only got two or three designers, they talk to each other well and you keep all your documents in a nicely structured Sketch or Photoshop file, really you don’t need to have one.” If you only have one website and one set of components, a pattern library might be overkill Andy Budd, Clearleft Cellyn Tan, digital product designer at London digital consultancy Red Badger, concurs. “We make use of both pattern libraries and design systems to varying degrees,” she says. “However, how far we’ll go in systemising and maintaining a user experience is really based on what the project’s priorities are. In a relatively small product team, maintaining a set of design principles, consistent typographic hierarchy and colour schemes is manageable purely with well-organised files and conversations.” For Daniel Smith, CEO of Bournemouth-based digital marketing agency Fireworx, striking this balance is about meeting the needs and expectations of clients. “With some companies we work for, everything is bespoke on their platforms and so automation doesn’t play a massive part; it’s very much a tailored solution,” he says. “I’ve always looked at it that you’ve got a suite of tools as an agency and what we want above all is to deliver the best outcome for a client.” React Sketch.app from Airbnb bridges the gap between designers and engineers For some projects, though, creating a pattern library can provide powerful benefits. Removing the need to create elements from scratch, over and over again, means that the more your operations scale, the more consistency you can provide to users, the less repetitive your design work gets and the more productive – in theory, at least – your operation becomes. That’s certainly what digital agency Masters Allen has found since shifting to a more automated approach, says senior developer Tim Jarram. “We now keep a familiar code base across all our websites, one we can work with quickly and efficiently,” he says. “And as a result of this, we’ve found that we have been able to work smarter and provide a clearer, more effective design and build process for our customers.” Design systems Although the term ‘pattern library’ is often used interchangeably with the terms ‘design system’ and ‘style guide’, there are important differences between them. In a nutshell, a style guide defines the basics of a user interface, such as colours and typography; the pattern library is a storage system for its components; and the design system explains how these two parts connect up and work together. There’s no hard and fast rule, though, as to what a design system must contain or do. “A design system is a bit like a brand,” explains Craig Frost, design lead at Pusher, a specialist in real-time technologies based in London. “A brand isn’t just a logo: it’s a broader, more squishy thing. And I think a design system is a broad, squishy thing too. Whether you’re designing a piece of software, an API, an interface, a piece of content or whatever, a design system allows you to figure out how you communicate your ideas and then solidify them in a way that makes them easy to teach to others.” Tooling up However, creating your design system is only one step on the road to automating your web designs. The next is to find a tool to help you manage, curate and centralise these systems. Many teams create their own but you may just want to use an off-the-peg solution, such as Fractal. This is a tool that Clearleft created for its own internal purposes, which it has since made available to the community as a free and open-source download. It not only enables you to build component libraries for your web projects but it also gives you the ability to create integrated documentation, plus a full-featured API to assist devs to then integrate these libraries into their tools and production builds. Clearleft's Fractal enables you to build component libraries for your web projects “Fractal is that central source of truth that everyone around the organisation goes to; it’s where all your documentation is,” explains Budd. “It’s where you’d say, for instance: ‘Here’s what a button looks like, here are five button styles and here is the code for each. And these are our three layouts.’ It’s that central storage space. For anyone who’s got a design system, you want something like that.” How exactly you go about integrating your design system into your workflow will depend on the scale of the project and the technologies you’re using. But one thing’s for sure: there’s a great deal of innovation in this space right now and it certainly pays to look around for the best tool for the job. There’s a lot of buzz, for example, about the React Sketch app released by Airbnb’s design team: an open-source library that enables you to write React components that render to Sketch documents. Designed for teams working at large scale, you can learn more about the app in this blog post. Browser-based design tool Figma now provides a Read API, and a Write API is on its way Meanwhile, Frost is excited that browser-based design tool Figma has opened up a Read API, with a Write API in the works. “You can build some cool things with the Read API,” he says. “For example, if you have a set of icons in Figma, you can edit them there, build them out and then have them version controlled in GitHub. What we’re really excited about, though, is doing things the other way round, using the forthcoming Write API.” It’s easy for things to change during the build process and for that not to loop back to the design tool... For that reason, we’re thrilled about the prospect of having our source of truth not being a design tool Craig Frost, Pusher Given how this will enable designers to update their design systems as things evolve during the development process, Frost’s enthusiasm is easy to understand. “In my experience, while design tools are useful for exploring loose ideas and getting where you need to go, they’re not that good at maintaining that position,” he says. “It’s really easy for things to become out of date, change during the build process and for that not to loop back round to the design tool. So what grows over time is inconsistency and a breakdown in communication: all the things that eventually lead you to look back in a couple of years and wonder what went wrong. “For that reason, we’re thrilled about the prospect of having our source of truth not being a design tool. To use the latter for what it’s best at – being a whiteboard for throwing around ideas – but to keep those solid ideas about that system and all the things that it embodies out there in code, in a place we can version-control, look at and build on.” DesignOps Component libraries, design systems and the tools aimed at implementing them into your workflow are all helping web designers to automate their processes. But when you reach the scale of a global giant, you need something more. Step forward, DesignOps. “In the last two or three years in the UK and in the last five or six in the US, a lot of design teams have gone from being relatively small and under-resourced into quite big, powerful units,” says Budd. “Five or six years ago when Jeff Veen and Doug Bowman were the first designers at Google, there was no need to worry about how to be effective and optimise performance. But jump forward to now and such companies have hundreds, even thousands of designers. So you need to think about how you utilise these skills.” DesignOps Summit showed design leaders how to create design capacity that keeps pace with change That thinking is cohering around a new movement called DesignOps, put forward by the likes of Kristin Skinner, executive design management champion at Chase, and design coach Dave Malouf. Well, kind of new, that is. “DesignOps is the evolution of what we previously called design management,” says Stu Collett, founder of Super User Studio, a digital product and service design consultancy based in London and Bath. “In a nutshell, it’s about bringing optimisation or design thinking to an operational level. It facilitates cross-functional collaboration within an organisation and establishes a framework for working with efficiency and at pace.” You might say, then, that DesignOps is like a design system on steroids. Or as Collett puts it: “In the same way that UX bleeds into service design, design systems start to bleed holistically into design operations.” In the same way that UX bleeds into service design, design systems start to bleed holistically into design operations Stu Collett, Super User Studio That starts to happen, Budd says, when you reach a certain size. “If you’re a six-person team, you don’t need DesignOps,” he explains. “If you’re a 40, 50 or 60-person team, that’s probably when DesignOps starts being important. And if you’ve got a design team of about 250, I wouldn’t be surprised if you wanted six, eight or 10 people in your DesignOps team, doing loads of different tasks.” In practice, he’s found that DesignOps often comes into play when an organisation has got lots of junior and mid-level designers and they’re all overwhelmed with work. “That’s what we’ve seen happen with some tech companies in San Francisco,” he explains. “And whatever happens in the States always happens in the UK three, four or five years later. So while DesignOps is still new to us Brits, it’s definitely coming to our shores soon.” How soon it will be relevant to the company you work at or consult for depends largely on how ambitious they are, says Collett. “It’s most relevant to large enterprises but we’ve also worked with startups who are focused on this kind of thinking from the onset,” he says. “This is often due to aggressive growth plans and the relative uncertainty of their futures. Working with this kind of rigor mitigates against creating a monster (from an ongoing maintenance perspective) and enables them to be responsive and scale consistently as they grow. For smaller teams, it’s generally not so important; you can probably get away with creating a simple design repository and not overcooking it. But if your plan is to be a 200-person company in year three, it’s very relevant.” By building a DesignOps team, Airbnb has been able to streamline, as Adrian Cleave explains So what does DesignOps consist of exactly? Firstly, like its namesake cousin, DevOps, there is a technical element to it. “It’s partly about figuring out the tools and technologies you need to get designs from designers’ minds into the hands of the user as quickly as possible,” says Budd. “One way to do that is through these design systems, pattern languages and code libraries – and I think that’s the thing that people get initially fixated on and fetishise. But that’s not all that DesignOps is.” Where DesignOps differs from DevOps, he explains, is that it’s also focused on the human, ‘soft skills’ you need to grow a design team. “It’s about making sure you’re promoting your design teams externally so people know what you’re doing – so there’s an element of comms. There’s also an element of HR because you’ve got to make sure you’ve got a really good recruitment process. A lot of design leaders are having to hire very large numbers of people very quickly, so having a DesignOps person working with HR to ensure that both hiring and onboarding is smooth is very important.” DesignOps is about making sure you’re promoting your design teams externally so people know what you’re doing DesignOps also looks at internal processes, he adds. “It asks: when do you have meetings, what kind of meetings do you have? How do you structure your organisation, where do designers fit? Are designers part of the design team or are they part of product teams? Who looks after their growth? Who judges them on their abilities? How do you decide when you give that person a raise? How do you manage other people in the organisation and make sure that when new product ideas are created, there’s a good, robust system for managing new products? And that obviously touches into product management as well.” Spelled out in this way, DesignOps might sound like a major commitment of time, effort and money that you might find a little overwhelming. And in truth, you wouldn’t be far wrong. “Many larger organisations struggle to establish effective DesignOps,” admits Collett. “It’s tough getting disparate functions or teams to share new ways of working, to establish its importance against BAU tasks of the time and converging this in a way that works for the core business.” Tough or not, DesignOps is here to stay and as digital companies become bigger and more complex, only those who take it seriously will survive. “Larger organisations or ambitious startups ignore DesignOps at the risk of facing problems with resourcing, workflows and systems, all of which impact their ability to scale, [respond] to market demands and remain competitive,” he concludes. This article was originally published in net, the world's best-selling magazine for web designers and developers. Buy issue 307 or subscribe. Web design event Generate London returns on 19-21 September 2018, offering a packed schedule of industry-leading speakers, a full day of workshops and valuable networking opportunities – don’t miss it. Get your Generate ticket now. Read more: 20 cutting-edge web tools to try now How to multitask like a pro CSS tricks to revolutionise your web layouts View the full article

Recently, we’ve seen a resurgence of brands adopting a crafty, handmade aesthetic, and an increased focus on tactile and analogue elements. However it's not enough to just stick a script font on your packaging design. When Kyle Wilkinson was asked to rebrand RedLeg rum to put more emphasis on the brand’s provenance, he hand-painted a script-style brush type and combined it with metallic inks to create a laid-back, Caribbean vibe. Sign up to Computer Arts' newsletter to get the latest design news This kind of attention to detail can make or break this aesthetic. Here are our top tips for embracing bespoke lettering in your branding work. 01. Use it wisely If hand lettering works with the overall brand – its origins, its ethos and its audience – great. If not, avoid; people will see straight through a tech giant trying to look personable using nothing but a script-y typeface. “It’s got its uses, but I feel it’s a lazy approach sometimes,” says Wilkinson. 02. Work with the printers Specialist typography often requires special finishes: embossing, foils, and spot colours, for instance. So it’s best, where possible, to work as closely as you can when it comes to printing the project (preferably, be physically present). That way, you can see the colours, finishes and other elements as they’re done. For more on this, take a look at our tips for getting more from print projects. 03. Keep it beautiful Jessica Hische created these labels, including a custom drawn MV monogram for Mahonia Vineyard "For a logotype to be ‘great’ it has to be beautiful – in whatever style or font it’s in,” says Jessica Hische. It must also be legible. “The logo is the first visual insight a lot of people get into the company – it’s an opportunity to set the tone for how they want to be perceived and what they want people to think of them and what they do,” she adds. 04. Mix techniques Hische works ‘by hand’ on an iPad Pro using Procreate. “I work the same in that programme as I do using pen and pencil, but with the added ability to colourise my sketches when colour is a big factor,” she says. “If I’m tweaking an existing logotype, I use my sketches as a quick ideation and iteration platform, but don’t push my sketches beyond the loose idea stage. If I’m working from scratch, I’ll take my sketches further before vectorizing.” 05. Do your research Competition is tough, especially in retail. “To make a difference you’ve really got to know your stuff,” says Stranger & Stranger founder and CEO Kevin Shaw. “You’ve got to know what works with consumers and what doesn’t, what others are doing and how to stand out; how retailers think and stock products. You also need to know about logistics and costs, so you can get the most out of budgets.” This article was originally published in Computer Arts, the world's best-selling design magazine. Buy issue 278 or subscribe. Read more: Adobe and Erik Spiekermann revive lost type sets How to design a handwriting font that isn't boring 23 great places to download fonts for free View the full article

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Rebranding by going back to a brand’s roots has been high on the agenda in recent years, with widespread talk of the ‘retro design’ trend. But trying to reawaken a brand's heritage isn't just a case of digging around in the archives looking for a suitable retro font or reviving the brand's best logo. According to Spencer Buck – co-founder and creative partner at Bristol’s Taxi Studio – talk of trends is irrelevant. “Quite simply, you do it when it’s the right thing to do,” he shrugs. “I hate the reference to a ‘trend’ as that implies transience, whereas the point is to design the brand into a place where it’s more timeless and robust. But the sad reality is that some brands were the best versions of themselves many years ago.” Sign up to the Computer Arts newsletter to get the latest design news Brand equity can be eroded over time, Buck explains: “It washes away critical points of difference – brand USP, in old money – until the brand becomes normalised in the marketplace. “Our job is to identify the point it all went wrong, then seek to bring the brand back to being the best version of itself. Digging in the archives is not a ‘fix all’ for all branding briefs, but it’s also not a bad place to start if the brand has drastically lost its way over time.” Here's how to do it... 01. Find the enduring benefit The Clearing's rebrand of Royal Ascot tapped into the brand's heritage Richard Buchanan, MD at The Clearing, draws attention to several brands in the FMCG and automotive sectors that have been resurrected for modern times, including Arctic Roll, Monster Munch, Fiat 500, Beetle and Mini. “They were built on sentimentality, but also a reservoir of goodwill that exists in consumers’ minds,” he explains. “But those consumers alone aren’t enough to ensure that brand is successful in future. They have to appeal to new audiences.” Ultimately, Buchanan adds, for a rebrand to tap into some long-lost heritage it needs to have something substantial in its DNA that’s worth reawakening in the first place. “Heritage just for heritage’s sake won’t work,” he argues. “There has to be something at the core of the brand to give you that connection. Mini reflected popular culture in the 1960s; the ‘Mini Adventure’ campaign repackaged that in a more urban way. It’s not just graphic or verbal veneer: there must be an intrinsic benefit. "There needs to be a benefit that’s as relevant today as it was then,” he says. “Some essence, or attitude, that can be reimagined for a new audience. You need to identify those golden nuggets, those little gems that make that brand special.” 02. Don't push it if it's not working Design Bridge delved into the archives to rebrand Guinness According to Chloe Templeman, creative director at Design Bridge, the agency often works with long-standing brands whose rich heritage may have been forgotten or somehow ‘lost’ over time. “It’s our job to find those hidden gems, and tell those stories through design in a way that is relevant today,” she says, giving the agency’s rebrand of Guinness, as an example. “But this approach can only really work when the brand has a past, and an interesting one at that,” she goes on, echoing Buchanan’s thoughts. “Sometimes you search for the hook and it’s just not there, so you have to choose another route. There’s no science to it: sometimes it’s a gut feel.” 03. Look to the future “Brewdog has taken everything we knew about beer branding, and remixed it to its very core," says Moody Chris Moody, chief creative officer at Wolff Olins, believes in looking to the future, rather than the past, wherever possible. “On a personal level, I feel nervous about building on heritage alone,” he admits. “It’s a valuable component, but in no other industry would people be so self-indulgent and self-referential to their industry over that of the client’s. “All brands should aim to carry with them a core, forward-thinking DNA that is true to what they stand for. Picking a fixed point in history as the only anchor can hold you back,” Moody argues. “Authenticity shouldn’t be confused with heritage: it’s something that’s earned over time. “The only thing that really matters is what’s relevant to today’s audience,” insists Moody. “Brewdog has taken everything we knew about beer branding, and remixed it to its very core. They are as authentic as hell, but they do it by constantly innovating and challenging what was done yesterday. Heritage brands like Tetley should be learning from Brewdog’s modernity, rather than rummaging through their archives for old logos.” 04. Don't pastiche the past North's rebrand of Co-op reinvigorated its 1960s heydey “Limited editions can be a good way to stir nostalgia in people, and remind them of why they fell in love with a brand in the first place,” says Templeman, giving the example of a ‘retro’ Irn-Bru edition that was reminiscent of her childhood. “But brands have to continually move forwards. It’s about taking inspiration from past brand stories, and then putting a modern lens on it.” 05. Find the compelling story Lyle's Golden Syrup features a dead lion surrounded by flies “Heritage is only really effective if you have a purist past and a compelling relevant story,” says Buck. “For some brands, it would be impossible to look back to move forward. Robertson’s Jam is an extreme example [look it up to find out why], whereas the rotting lion carcass found on a certain brand of syrup remains perfectly relevant and as acceptable today as it was then,” he adds. “Heritage can be a loaded gun, and authenticity is a bandwagon word. Consumers can’t be fooled or entertained into buying stuff like they used to,” Buck continues. “They demand more from brands, and rightly so. Being authentic is fundamental. Without it you’re fake, and fakers soon get found out.” This article originally appeared in Computer Arts, the world's leading graphic design magazine. Buy issue 279 or subscribe here. Read more: Define a brand with homemade type 21 outstanding uses of colour in branding How to discover a brand's USP View the full article

Web development is more complicated now than a few years ago. Web design tools, browser features, frontend frameworks and best practices change almost monthly and there is always something to update. And with this comes risk. How can we be sure these changes won't have unintended side effects? Testing is all about mitigating risk. If a user has trouble using a site, they are less likely to come back and more likely to jump over to a competitor. By checking every decision that gets made when developing a site, it reduces the chance that users will have a sub-par experience. Clearly there is more to user testing than just making sure a codebase is free of errors. There are steps to test right the way through the design process that can make sure everything that gets created is guided by a real user need. 01. Write lots of unit tests Have many unit tests but fewer integration and end-to-end tests to strike a balance between speed and effectiveness Unstructured code is a precursor to bugs and issues further down the road. It not only makes it hard to understand and impossible to upgrade, it also makes it difficult to test. With so many pieces all directly relying on each other, tests must run on all of the code at once. This makes it difficult to see exactly what doesn't work when the time comes. Each part of the application should be broken up into its own concern. For example, a login form can comprise database queries, authentication and routing in addition to styled inputs and buttons. Each one of these is a great candidate for having its own class, function or component. The foundation of a solid codebase is a good set of unit tests. These should cover all code and be quick to run. Most unit tests and their frameworks share the same structure: A "describe" block denotes what piece of code is under test. Inside that are a number of tests that set up a scenario and compare our expected result with the actual result. If they don't match, the test fails and we can investigate further. By creating and running unit tests as we change files, we can be sure that nothing has accidentally broken the expected functionality of each piece of code. These pieces can also be dropped into other projects where needed. As tests are already written for it, we can be sure that this particular unit is free of any issues right from the start. There are plenty of tools to help write unit tests, such as Jest, Jasmine and AVA. The best fit will depend on the needs of each project, any frameworks involved and ultimately developer preference. 02. Use test doubles when required Sinon has ready-to-use methods for faking common browser APIs such as setInterval and XMLHttpRequest While it may seem counter-productive, it can be easy to test more than originally intended. If a function depends on an external library, for example, any bugs that come from that library will fail other tests even if the code we have written is sound. The solution to this is to add placeholders – or 'test doubles' – for this functionality that behave in the same way but will always give us an expected result. The three main test doubles are 'mocks', 'stubs' and 'spies'. A mock is a class or object that simply holds the place of a real one. They have the same interface but will not provide any practical functionality. A stub is similar to a mock but will respond with pre-programmed behaviour. These will be used as needed to simulate specific parts of an application while it's being tested. A spy is more focused on how the methods in that interface were called. These are often used to check when a function is running, how many times it ran and also what arguments were supplied when it did. This is so we know the right things are being controlled at the right time. Libraries such as Sinon, Testdouble and Nock provide great, ready-made test doubles. Some suites such as Jasmine also provide their own doubles built-in. 03. Check how the components work together Once code is broken out into separate components, we then need to test that they can work together. If the authentication layer doesn't understand what gets returned from the database, for example, nobody would be able to log in. These are known as 'integration tests'. They check how one part of the application works with another. While unit tests are deliberately isolated from one another, integration tests encourage communication between these two parties. As with unit tests, the goal of an integration test is to check the end result was the intended one. In our login example, that may be a check to see if the "last logged in" timestamp was updated in the database. Since more is being dealt with at one time, integration tests are typically slower than unit tests. As such there should be fewer of them and they should run less often. Ideally, these would run only after a feature has been completed to be sure nothing has changed. The same suites used for unit tests can be used to write integration tests, but they should be able to execute separately to keep things running quickly. 04. Follow the path of each user Puppeteer can control a headless version of Chrome as if it were a user. It can generate screenshots to visualise issues The top level of automated technical testing is known as 'end-to-end' or 'functional' testing. As the names suggest, this level covers all actions a user can take from start to finish. They simulate real scenarios and how a user is likely to interact with the finished product. The structure of these tests often mirrors user stories created as part of the development process. To extend an example from earlier, there may be a test to make sure a user can enter their username and password on a login form. As they rely on the UI to run, they need to be updated as the interface changes. Long load times can also cause issues. If any action cannot be completed quickly enough, the test will fail, which will result in false positives. These tests will also run slowly. The bottleneck tends to come from running the browser, which is not as fast as the command line but is necessary to emulate the right environment. As such these will run less frequently than integration tests – usually before pushing a set of changes into production. Tools such as Selenium and Puppeteer can help with writing end-to-end tests. They enable browsers to be controlled through code to automate what would otherwise be a repetitive manual process. 05. Set performance budgets Pingdom can also help monitor user flows throughout their visit, which can help to quantify how successful a change was Modern front-end development often involves creating bundles for each project with lots of heavy assets. Without being careful, these can have a damaging impact on performance. Webpack comes with a way to keep track of performance issues such as bundle and asset size. By tweaking the 'performance' object in webpack.config.js, it can emit warnings when files grow too large and how best to tackle it. These can even throw errors that can stop a build succeeding to be sure end users aren't negatively affected. It is also important to test on a range of devices similar to those used by the visitors to the site. A mobile-first approach to design and development makes sure users on low-end devices aren't left waiting for a page to render. WebPagetest provides a comprehensive overview of the performance of a website alongside hints as to how it can be improved. Live services such as Pingdom can track the performance of a site with live users for real-world data. 06. Develop for accessibility As part of its auditing process, Lighthouse tests a site on common accessibility practices and highlights what to improve Every website should be readily accessible to everyone. While accessibility testing commonly refers to those with disabilities, changes made as a whole will benefit everybody by creating a more approachable, easy-to-navigate site. There are tools that can automatically detect the most common issues, such as poor semantic markup or missing alt text on images. Lighthouse, for example, runs inside the Chrome developer tools and gives instant feedback on the accessibility of the page it analysed. Automated tooling cannot detect everything – for example, it isn't possible for a machine to know if the alternative text for an image is appropriate. There is no substitute for manual testing alongside users with various disabilities. Devices will be set up for that user's unique needs and we will need to make sure they are catered for. 07. Work to the extremes Edge cases are a common cause of issues – particularly the length and content of strings. By default, long words will stretch the container and cause flow issues on a page. But what happens if someone decides to use characters from a different alphabet or makes use of emoji? Issues become more permanent when storing these strings in a database. Long strings may be truncated and encoding issues can end up distorting the message. All test data should include these checks. Fuzz testing is an automated technique that bombards an interface with random input as a form of stress test. The aim of the test is to make sure no unexpected issues arise from an unexpected – but possible – set of user actions. These extremes aren't just limited to content. Those on slow connections, low-end devices and smaller screens shouldn't be made to wait. Always aim for faster performance metrics, such as time to first paint, to cater for these users. In short, almost all aspects of development are more varied than anticipated. Use real-world data as early in the process as possible to be sure the site can cope with every eventuality. 08. Keep an eye on regressions As features are added or changed, tests will need to be re-run. It is important to prioritise those that are likely to be affected by that change. The test suite Jest is able to determine what has changed based on Git commits. It can then determine which tests to run first to give the fastest feedback. Visual regression tools like PhantomCSS can detect when styles have changed. A similar concept exists in Jest for objects or UI components called snapshot tests. These capture the initial state of each test. When anything changes, the test will fail until the change has been confirmed. 09. Test early, test often When tight schedules determine releases, it is easy to let the developers create a product and have testers test the execution. In reality, this can lead to a lot of wasted development time. Getting in the habit of testing each new feature early means an idea can be checked to make sure it's heading in the right direction. By using paper prototypes and mockups, it is easy to test an idea with no code at all. By regularly testing a feature as it gets developed, we can be sure it's hitting the needs of the user. If any small tweaks are required, they are easier to implement in smaller stages. It's also important to get ideas tested on real users. Rounds of alpha and beta testing can highlight issues early enough to correct them with little overhead. Later rounds should involve targeted demographics that are related to the eventual end user. Finally, keep these rounds as small as possible. A study by Neilsen found that five users is enough to get an idea of what works and what doesn't. If the element under test is kept small, the range of feedback gained will be enough to fuel the next round of testing. 10. Encourage a test culture Tests can only be of benefit when used regularly. Everybody involved on a project has to be on board to help them be most effective. Continuous integration (CI) tools automate as many checks as possible before any update lands in a codebase. These can run unit tests, check for coverage and identify common issues automatically and flag them if any issues arise. Code with any issues whatsoever cannot be added to the project. People separate from the development of a feature can perform quality assurance (QA) tests, which can act as a final check to make sure all the required functionality is present and working. If bugs do make it through the various checks, make sure there is a process in place to report them both internally and externally. These reports can form the basis of new tests in the future to make sure this issue never resurfaces. This article was originally published in issue 307 of net, the world's best-selling magazine for web designers and developers. Buy issue 307 here or subscribe here. Related articles: 5 cross-browser testing tools to try today An introduction to frontend testing 9 responsive typography tips View the full article

Generate London 2018 is now less than two months away and things are really ramping up. Not only are tickets getting snapped up but preparations behind the scenes are continuing in earnest. While we still have some exciting announcements to come, we couldn’t sit on this one any longer, so we’ve decided to share some of our latest speakers. Hosted at the Royal Institution, the home of the Christmas Lectures, from the 19-21 September 2018, Generate London 2018 offers a day of workshops and a single-track, two-day conference featuring first-class web devs and designers. On top of high-calibre keynote speakers such as Sarah Parmenter, Sara Soueidan, Bruce Lawson and Richard Rutter, we’re pleased to announce some more veritable web-design celebs have been added to the lineup: Ricardo Cabello Ricardo Cabello – commonly known by his Twitter moniker @mrdoob – is a self-taught computer graphics programmer best known for developing open source libraries and tools, such as three.js and frame.js. With such extensive experience in JavaScript and 3D technologies, it’s no surprise Ricardo is training his sights on online VR. Aiming to give attendees a grounding in build-once-deploy-everywhere technologies like the WebVR and WebXR APIs, his talk WebVR with Three.js will explore how you can start building your first VR and AR experiences using Three.js. Cassidy Williams Having earned computer science degree from Iowa State University and worked for leading tech brands like Microsoft, Cassidy Williams now works as head of developer voice programs at Amazon. She’s been recognised in LinkedIn's Top Professionals 35 & Under and Glamour Magazine's 35 Women Under 35 Changing the Tech Industry. As Cassidy explores in her talk Creating Art with CSS, graphics in CSS exist at a nexus between designers’ and front-end developers’ skill sets. Exploring how to create art can improve your CSS skills, enhance your workflow and help you get a better a handle on how design is structured. In her talk, Cassidy will explore graphics from the point of view of a developer and how to build them in CSS, not only covering technique but also live-coding some CSS art. With such stellar speakers already confirmed and yet more on the way, tickets are selling fast. So make sure you pick up a ticket for Generate London now. Related articles: New speakers announced for Generate London The best VR headsets for 2018 Everything you need to know about WebGL View the full article

Adobe has created some amazing photo-editing software in Photoshop, and you can learn how to use it with Ultimate Adobe Photo Editing Bundle. This bundle teaches you how to edit photos from scratch, so even if you're a total beginner, you'll be editing like a pro in no time. Join Adobe Creative Cloud and save 15% on your first year You'll learn all about high-end beauty retouching techniques, and you'll find out how to market yourself in the freelance world. And just in case you've ever been curious to learn Lightroom too, this bundle throws that in for good measure. By the bundle's end, you'll be a whizz at using both Photoshop and Lightroom to create truly professional-looking photos. And the entire bundle is yours for only $29. Related articles: The 10 commandments of Photoshop etiquette 5 best laptops for Photoshop Colourise greyscale work in Photoshop View the full article

VR and AR headsets are becoming increasingly powerful, and if you work in 3D they're a brilliant way of getting a really good, close look at your 3D art. 10 tips for sculpting in VR If you've ever worn a headset for any length of time, though, you'll know they're a bit of a faff and not hugely comfortable; especially in hot weather, right? If only there was a holographic display that you could just put on your desktop and see your work in 3D without the need for a headset. But look; now there is! The Looking Glass is billed as a holographic display for 3D creators, and it looks amazing. Developed over four years by a team of holographers, engineers, Unity developers and 3D graphic artists, it uses a combination of lightfield and volumetric technologies to create a holographic display that you can put on your desktop to view and interact with your 3D work. It supports 3D models and animations in OBJ, FBX, STL and gLTF format, and there's also an app in development to enable exports direct from Maya; you'll also be able to get live viewports from Maya, Zbrush, Blender, Tinkercad, and Solidworks. There are dozens of of holographic apps available through the Looking Glass's app library, and with Looking Glass's HoloPlay Unity SDK you'll even be able to develop your own apps. For added immersive fun you can add a Leap Motion controller to your Looking Glass setup, enabling you to manipulate your work directly with your hands; you can also hook up a Nintendo Switch joycon or an Ultrahaptics development kit. Basically this looks like a dream come true for anyone working with 3D, whether you're a game developer, 3D artist, product designer, architect or just someone who enjoys messing about in 3D. The project has been on Kickstarter for less than 24 hours and it's already smashed its target several times over; if you want to be one of the first people to get their hands on a Looking Glass when they ship in December then you'd better move fast, because we can see it swiftly becoming vastly oversubscribed. If you really get a move on you could snag yourself a sweet bargain, too; Looking Glass is running some great day one offers that could save you $201 on the price of a standard-size model, or $1,001 on the large model that normally costs $3,000. Seriously, though, you'll have to be quick: the offer ends at 10AM EST (that's 3PM UTC), so get your skates on. Related articles: The best VR headsets for 2018 How to sculpt a character in VR 5 tips to improve your VR creations View the full article

Maybe you're craving the flexibility and freedom of being your own boss, or you've just had enough of office politics. Perhaps you're realising you can't progress the way you want to in your current role, despite having all the top tools for graphic designers at your fingertips. Whatever your motivations, the lure of freelancing is a powerful one. This is a job where, it seems, you can choose how, when and where you work – all while getting paid to do something you really love. Freelancing can indeed offer immense creative and professional satisfaction, but there are plenty of challenges too. From the stress of working from home, juggling multiple projects and knowing you're 100 per cent responsible for them, learning how to network to win new clients to clearing your schedule for work that never materialises, freelancing can be as distressing and infuriating as it can be brilliant. Here, we explain the three main stages of your freelance career, from seeking your first commission through to working on exhibitions, agency commissions and more. To take the stress out of freelancing, we navigate some common pitfalls and challenges, with plenty of tips to help you improve your freelance career right away. Read on for level one: getting started – or skip straight to level two: build your freelance career, or level three: become a freelance star Level one: Get started as a freelancer Illustration: Emmanuel Pajon Make the decision to go freelance and you'll probably feel excited, daunted and more than a little bit terrified. That's totally normal, confirms designer and illustrator MJ Jackson, who freelances under the name I Am Cheapskate. As a freelancer, you're likely to become very familiar with that sense of nagging worry, like when you find yourself fretting that turning down one commission means you'll never work again (we promise it doesn't). Jackson now regrets saying yes to absolutely everything that came his way during the onset of his career. "I wish I had been able to worry less about turning work down, rather than accepting everything on offer," he reflects. "I took some jobs that I perhaps didn't fancy and therefore didn't enjoy, which just isn't conducive to producing your best work. Now I know exactly what my skills are, my interests and areas of expertise. It's okay to have your own rules about how and where you work and what types of clients you want to work for." Learn to sell your skills Art director and designer Pol Solsona started freelancing alongside his day job while working in advertising in Helsinki. "I started off with some small projects, so I was doing them at nights and weekends," says Solsona, who is now planning a move to New York City. His advice for finding great opportunities on your own? "Freelancing is not just about having good ideas and good skills. The most important thing is how you sell yourself and talk to clients." Pol Solsona for Cinemaissí 2015, Helsinki's Latin American Film festival Becoming a freelancer doesn't have to mean opting out of studio life entirely. "There are two basic categories of freelance work for graphic designers," explains Jackson. "You can be a gun-for-hire in a studio, or you can be a one-man/woman band at home." The former option may be lucrative, he says, "as you can get cosy if contracts are extended for months at a time." Going it alone from home, on the other hand, offers far more in the way of freedom and versatility. "It can be more fun, although getting paid is often a struggle." Jackson suggests trying to mix it up if possible. "Do a few stints in studios to line the coffers and buy yourself some breathing room – and then build up your own clients in the meantime." Admin counts as work Like it or not, being freelance means you're running a business, so it's a good idea to treat it as such right from the start. That includes getting to grips with the joys of paperwork, as well as making yourself known to the tax man. "There are two important things to remember," says Jackson. "Firstly, doing admin is work. Don't be afraid to put aside time to keep on top of it, and don't feel guilty that you seemingly aren't working when you're doing it." 'It’s always best to let someone else pull your cracker' by MJ Jackson It can be tempting to leave any paperwork to pile up on your desk, but this isn't wise. "Don't go thinking it will look after itself," Jackson warns. "It won't. Either learn to make a simple spreadsheet or ask someone who can. It's essential to have a clear record of expenses and invoices with due dates. "And the best tip I can give anyone is: don't be afraid to invoice. Get your invoice in the moment you finish a project. If you're dealing with clients directly, rather than through a commissioning studio, make sure you have written terms and conditions. I bought mine from RIBA and adjusted them to suit, but there are plenty of online resources." For more options, try the Association of Illustrators (AOI) and American Institute of Graphic Arts (AIGA). Next page: Level two: build your freelance career Level two: Build your freelance career Freelancing is a constant process of hustle and flow, which means the need for self-promotion and reinvention never stops. For Stina Jones, a freelance graphic designer and illustrator based in Manchester, UK, this meant working out how to promote both skillsets in one coherent way. "The challenge for me was striking the right balance and showcasing a little bit of everything without spreading myself too thinly," she says. "There's a degree of crossover between the disciplines, though. In more recent years, I've found using a mix of skills has become second nature on a lot of the projects I undertake, which in turn has made it easier to bring these different skillsets together in one portfolio." Jones says one of the most important lessons she has learned during her time as a freelancer is the importance of simply being herself. "When I started out as a freelancer, I spent a lot of time trying to present myself as being all things to all people, which made it take longer than it could have to find my niche and create a sustainable and enjoyable work environment for myself," she reflects. Don't neglect personal projects "I also wish I'd known the value of spending time on personal projects, over doing free work for others in the hope of a bit of exposure," adds Jones. Suite of comic and creature themed illustrations for BBC Ten Pieces: Superconductor Mixital App, by Stina Jones "Personal projects help you to expand your vision and skills, and you also find yourself doing work that you wouldn't usually do as a commission," agrees Pol Solsona. "Besides that, I try to add something new to any project because I think it's not fun to repeat the same pattern over and over. I also keep myself culturally updated by visiting local art exhibitions and events." Start networking Jones points out that networking is also hugely valuable for freelancers, which includes strengthening links with each other. "Don't disregard building relationships with other freelancers – they're not necessarily your competition. Collaborate on projects, share tips and advice, pass leads to each other and just generally be supportive of your fellow freelancers, as more often than not it's mutually beneficial." Building relationships with other freelance creatives, whether it's online through blogs and social media, or in person via meet-ups and events, is also a good way to stave off potential loneliness. Free Range Cider campaign for Addlestones, by Alex Fowkes Graphic designer Alex Fowkes agrees that freelancing can be isolating – something he didn't fully anticipate before he embarked on a solo career. "I didn't realise how difficult it would be to work alone when I first started," he says. "I craved working alone and wanted to do everything myself, whereas now I want to collaborate and work with other people." "Now that I've established my own style and a portfolio, I crave collaboration with people who have different skills who can push me. Trying to do that in the real world is difficult because client projects don't allow for it and you don't necessarily have the time to do it off your own back," he says. Choose the right hours Fowkes says that learning when he functions best has boosted his productivity. "I come up with ideas in the morning," he says. "If I need to fulfil them during the afternoon then that's okay, but I can't think of new ideas or finish something to a high level." He sits down to work around 7am. "I love looking at the clock at 10am, knowing that I've got rid of my worries for the day," he says. "I think working 9–5 is going to be used less and less," he adds. He is about to take a working holiday to the French Alps, where he plans to divide his time between freelance work and leisure pursuits. "Freelancers sometimes think they have to sit at their desks from 9am, but before or after that is when they actually get their best work done – either before the client is in, or after they leave. What matters is that you're on top of it." MJ Jackson illustrated Mallorca Dreaming This flexibility to work whenever and wherever you want is one of the great draws of freelancing, yet you can easily forget to make the most of it. "You need to embrace the fact that you are your own boss," says MJ Jackson. "If you want to take advantage of the sunshine, then get out there. Just remember that you might have to make yourself work late to catch up," he advises. "Don't be afraid of leaving your bedroom desk to work in libraries or coffee shops. You need to interact with the outside world and get inspired, and if you're working from home then you can miss out on that." Don't put too much pressure on yourself The pressure of taking full responsibility for your own business and livelihood can feel relentless at times. "Trusting my own ability as a pen and an imagination for hire seems to put a lot more pressure on me than being a permanent member of a studio," Jackson says. "Perhaps it's the feeling that you have to deliver to justify the fee, but there's no need to put that amount of pressure on yourself." After all, he explains, design is usually a collaborative process, "and you've been commissioned because they like you and your work." It's important to remember that existing clients can be one of your best sources of future work. Repeat business will potentially arise from successful projects, says Jackson, "so keep your standards high and do your best work. Make yourself invaluable. If you're choosing the right clients and enjoying the work, then you're more likely to be producing good stuff." Next page: Level three: become a freelance star Level three: Become a freelance star It's hard to predict what will win future work, new clients or positive media coverage, as there's no tried-and-tested formula. Solsona has exhibited his work at events in Barcelona, Helsinki and London. He says the exhibitions helped him personally, but didn't win him new clients directly. That wasn't the aim, however. "All the pieces I exhibited at the shows were already produced beforehand and were then selected to be part of an exhibition," he explains. It's also worth remembering that it's virtually impossible to measure the cumulative effect of social media, blogs and other profile-boosting activity in terms of commissions won or money earned. "What really helps me to keep developing creatively is to have personal projects going on permanently and to be open to any sort of project, even though it may seem a bit out of my comfort zone, since there's always a professional challenge on offer," says Solsona. Fowkes' freelance career snowballed after he created the Sony Music Timeline – a graphic installation documenting the company's 125-year history. Since then he's created a typographic installation in the home of singer Olly Murs, worked on an array of commissions for Urban Outfitters, created a London Underground poster campaign for a dating website, and published a book titled Drawing Type: An Introduction to Illustrating Letterforms. "I've been really fortunate because the design blogs have picked up a lot of these projects," he says. "I work on a lot of special projects and one-offs, and because of that the brand will really get behind the idea and push it. That means I get to play around with it, and then the blogs catch on because it's often something unique. That's great because I like to have fun and play." Keep it fresh What's problematic is when new clients expect him to repeat or reproduce a one-off project for them. "I get lots of people saying they want me to do something similar to the Sony piece," he explains. This is an example of why it's so important to have a sense of the person behind the portfolio. For Fowkes, this means creating a clear impression of his style and unique offering. Many of Fowkes' projects have come through commissioning agencies. For these collaborations to work, it helps if you have a good understanding of where the agency sits in the overall process – and, he says, if you appreciate that the agency may approach the schedule and priorities differently. "Don't be afraid to keep in contact with them," he advises. "They're very hectic and are doing so many things at once." "The fact that you're a freelancer means they see you as someone who's doing them a favour, and they won't mind if you email and say, 'Hey, I'd like to know what's going on with this project.' Don't assume you would have heard there was an update – they're doing 10 million things at once and the project that could be everything to you isn't necessarily everything to them at that time." Be versatile He gives the example of a two-week wait for news on whether a project is actually going ahead. "You might be sitting there thinking it must have fallen through because it's been two weeks, then all of a sudden it's on and they need it by the end of the week. It can be quite a rollercoaster and you need to be versatile." Of course, the same could be said about almost any aspect of freelancing, but it's particularly important to keep in mind if you're working in-house. "If you're freelancing at a studio, it's important to fit in and be part of the team," says MJ Jackson. "You'll get more out of it yourself – and the permanent members of the team will be more comfortable with you being parachuted in." "I never liked it when a freelancer came into my studio and had the loudest voice," he admits, "but by the same token, a timid hermit who never stands the tea round is the very worst type of freelancer." This article first appeared inside Computer Arts, the world's leading design magazine. Subscribe here. Read more: 11 of the best creative resumes 25 tips for staying sane as a freelancer 6 ways to save money as a freelancer View the full article

There's nothing quite like seeing a tired old brand get a new lease of life. Whether that be a small identity refresh or a complete overhaul, a little bit of tender loving care can go a very long way. Students at Shillington were recently tasked with their own branding challenges, designing fresh new looks and breathing new life into various brands to change perceptions. Below is a selection of the hypothetical projects they came up with, which are sure to inspire you. To see the full list of work, visit the Shillington blog. 01. Fabricate by Ray Wong Wong's concept includes this cool 'Clean up your act' laundry bag Shillington graduate Ray Wong created this cool identity for an imaginary laundrette that doubles as an art cafe. “Fabricate is designed to reach and inspire a young, trendy audience in the edgy east side of London,” Wong comments. “The idea behind Fabricate is the interconnectivity of fabric and how it’s reflected in storytelling, like a tapestry. We create ideas from the acquisition of personal events, history and culture." 02. Verdant by Emma Clay We love the sophisticated feel to this branding project Emma Clay, a Shillington graduate in Melbourne, created this beautiful identity for a local floristry delivery company. “My concept was to appeal to the corporate and hospitality industry rather than the public,” Clay says. Oozing floral sophistication, the green and navy colour palette fits perfectly, as does her choice of keywords; dependable, intriguing and succinct. 03. News Network by Lily Fielding Lily Fielding's edgy branding features a monochrome palette, with flashes of orange Shillington Brisbane graduate Lily Fielding is responsible for this edgy branding project for a news network. Featuring a monochrome palette, with flashes of bright orange, Fielding aimed to envoke credibility and respect with her design. It is, indeed, time for a different view. 04. Urban Garden by Michaela Early Michaela Early's concept is centred around community The brief for Shillington graduate Michaela Early was to design an identity for an urban garden startup company in London. The idea behind it being to centre it around a community and entice young people away from their digital devices and into urban gardening. “I drew on the language of, and obsession with, technology and artificial intelligence to shine a light on a form of impressive intelligence we tend of overlook these days: nature,” Early says. “I wanted to connect young professionals through a concept they can understand (technology) to plants by personifying them as an alternate form of intelligence to get to know.” See the rest of the branding projects from Shillington students over on the blog. View the full article

Instagram templates are increasingly popular, particularly for brands and businesses keen to achieve a stylish, consistent look and feel quickly and easily. Instagram Stories in particular have rocketed in popularity in 2018. As Mark Zuckerberg put it in Facebook's Q1 earnings report: "Stories are on track to overtake posts in feeds as the most common way people share across all social apps." Over a third of Instagram's billion-plus active monthly users make regular use of Instagram Stories. Considering more than 70 per cent of Instagram users watch them with the sound on (compared with the sound being off for around 85 per cent of Facebook users), the potential is clear. The best Instagram Stories templates come in sets, and are often animated. So whether you're looking for a template yourself, or just want some inspiration to create your own, read on for five must-have Instagram Stories templates... 01. Rose Gold This distinctive pack of Instagram Stories templates by SilverStag features 30 fully editable Photoshop files, 200 hand-drawn elements – including hearts, stars, lines, triangle, popular words and more – plus 20-hand drawn patterns and three 'foil' backgrounds in Rose Gold, Gold and Silver. Rose Gold Stories was created with photographers and bloggers in mind, but is versatile enough to be applied to different creative disciplines. It costs $19 for a standard license, and the theme is also available in animated form, or as a matching standard Instagram template. 02. Marble A more entry-level Instagram Stories template by Pande, this clean, geometric pack includes 10 designs in both light and dark versions, and has the font and sample images bundled with it, as well as a subtle marble texture – on a separate layer, should you want to turn it off. Each template is supplied as a Photoshop file with clearly labelled layers for ease of editing, and at just $10 for a standard license, you can't really go wrong. 03. Playful If animation isn't your forte, check out the Playful Collection, a pack of animated Instagram Stories templates by Ruby&Heart Studio designed to "present your content in a fresh and cheeky way." A standard licence is $26. All the animations are already set up, so you simply need to update the text, images and colours in Photoshop. The pack includes 20 colourful animated templates, a collection of handmade vector doodles in EPS and AI formats, and a video tutorial to explain the process, should you need it. 04. Minimalist This clean, minimalist pack of animated Instagram Stories templates by Sparrow & Snow includes 16 fully customisable animated PSD templates that are ideal for promoting events, products, announcements and more. A standard license is $24, and includes the templates, JPG and video previews, links to download free Google Fonts, a selection of free photos, and a video tutorial. Templates work equally well static or animated, depending on your preference, and the neutral layouts are versatile for different types of business. 05. Copper Another offering from Ruby&Heart Studio, the Copper Collection also comes with 20 pre-animated Instagram Stories templates – all held together with a sophisticated, understated copper colour palette. For $26 for a standard licence – currently reduced to $18 – you get 20 animated PSD files, plus video files for reference; a video tutorial; links to access to the relevant free fonts and images from Unsplash; and two vector Mandalas to use as you see fit. Related articles: 5 clever Instagram layouts you must see How to make money on Instagram Inspiring examples of the hand-lettering trend View the full article

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