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If you've been tempted to give Adobe XD a spin but been put off by the price tag, that could all be set to change. Today Adobe announced it would be offering users a version of its all-in-one UX/UI design platform for free, via the Adobe XD Starter plan. Get 15% off Adobe Creative Cloud with our exclusive deal Built to cater for both Mac and Windows users, the XD Starter plan also covers mobile apps for iOS and Android. On top of this Adobe has launched a $10 million fund to help designers and developers create innovative plugins for the software – perhaps with the aim of helping it win its battle against Sketch. It has also released new XD features and enhancements, including better integration with Sketch and Adobe Photoshop. The Adobe XD Starter plan offers all the prototyping tools found in the full version. The only catch, it seems, is that users will only be able to share a single set of design specs. While this is useful for students and designers looking to pick up the software, it could prove a tad limiting for a single UX designer in a larger organisation. Get a taste of what to expect in the video below. "UX design is one of the fastest growing segments in design," says Scott Belsky, chief product officer and executive vice president, Creative Cloud at Adobe. "The new Starter plan supports Adobe’s vision to give everyone – from emerging artists to enterprise brands – everything they need to design and deliver exceptional digital experiences and explore the rapidly expanding field of UX design with no financial commitment." Related articles: Adobe XD integrates with Photoshop CC and Sketch Adobe XD CC updates make workflows seamless How to prototype a mobile app with Adobe XD View the full article

Adobe has issued a round of higher priority patches less than a week after its Patch Tuesday updates last week. View the full article

Airbnb has a multi award-winning brand identity, but it never settled on a typeface that felt quite right. Until now. The company has released Airbnb Cereal, a sans-serif typeface that can be used across all branding touchpoints, from billboards to its app. Airbnb Cereal is available in six weights: light, book, medium, bold, extra bold and black. It also sports a deeper x-height than the company’s previous main typeface, and apertures that shrink based on the weight of the type in use. Airbnb partnered with international type foundry Dalton Maag on the type design project. “As a company that’s designing online and offline experiences, we saw a clear opportunity to create a distinct typeface that can carry the weight of both – to leap off the screen to a magazine,” says Airbnb. “We needed to design a typeface that combines character, function, and scale.” In an interview on the brand’s blog, design lead Karri Saarinen explains how they initially experimented with screen-optimised system fonts, but were unable to find one that fitted with Airbnb’s design language, and that would work across print and digital platforms. When it came to naming the font, design lead Derek Chan says they were looking for something “playful, open, and simple… with a touch of quirk”. A heartwarming tale from the annals of the company’s history provided the perfect solution. Founders Brian Chesky and Joe Gebbia, in huge amounts of debt with a site that no one was visiting, launched a last-ditch promo that saw them shipping self-assembled boxes of cereal (‘Obama Os’ and ‘Cap’n McCain’) to Airbnb hosts and members of the press. The press ate it up, literally and figuratively, and it was a turning point for Airbnb. The typeface follows a trend for brands to put increased emphasis on unique type design. Airbnb Cereal joins the likes of YouTube Sans, IBM Plex and Coca-Cola’s TCCC Unity in the collection of bespoke brand typefaces. Read more: Why design is key to Airbnb's incredible success Logo design tips from the pros 70 best free fonts for designers View the full article

If you're passionate about augmented reality (AR) and want to be the first to try the upcoming True AR SDK by WayRay, you're in the right place. Global holographic AR technology company WayRay is currently running the True AR Challenge, an online competition where designers and developers are invited to share their ideas for AR applications for cars. WayRay has brought amazing partners to the challenge, so you’ll get to pitch your idea and present your solution to top specialists from academia (ETH Zürich, EPFL), business (Roland Berger GmbH), and industry (Porsche AG). How to enter the challenge To enter the contest, register online, download the materials and visualise your idea of an AR app interface for cars. The most creative, original, and user-friendly concepts will be granted $2,000–$5,000 and shortlisted for the US-based hackathon later this year, the winner of which will walk away with $40,000. The online phase lasts until May 30, culminating at the onsite Hackathon, where designers will team up with developers to create AR app prototypes and compete for their share of the $160,000 prize pool. Here's a step-by-step guide to enter: Register at https://wayray.com/sdk/challenge Confirm your participation in the automatic reply Download the materials (rules, PowerPoint template, images, videos) Fill in the application form in the PowerPoint template Use the images to visualize your AR app interface and add the pictures to the template Optional: use the videos with different road scenarios to visualize an animated version of your AR app, upload your videos to any file hosting service and put the link into the template Convert the filled PowerPoint template into a PDF file and send it to sdkchallenge@wayray.com, open until 30 May 2018. Shortlisted finalists will be notified by email by 30 June 2018. For full terms and conditions, visit the dedicated challenge page on the WayRay website. Judging criteria When deciding who makes the shortlist, the judges will be looking at the following criteria: Creativity (How original is the AR app?) Relevance (Does the AR app serve a user need?) Design (Did the participant/team put thought into the user experience? Is the AR UI pleasant to look at?) About WayRay WayRay is a global holographic AR technology company headquartered in Switzerland Founded in 2012, WayRay is a global holographic AR technology company headquartered in Switzerland. In keeping the full R&D process under control - from product concept to prototype testing - WayRay has morphed from a startup into a full-cycle manufacturer of holographic optical systems, hardware, and software. WayRay’s solutions for the automotive industry include Navion, the first-ever aftermarket holographic AR navigation system; the embedded Holographic AR Display, a built-in solution for car makers; the True AR SDK for developers to create AR apps for cars; and Element, a gamified car tracker for smarter driving. In the last few years, WayRay has carried out successful projects with car manufacturers like Honda, Porsche, and Rinspeed. View the full article

It's been 20 years since Apple launched the first in its series of game-changing personal computers. Instantly recognisable thanks to its unique shape and brightly coloured, translucent monitors, the iMac G3 provided Apple with a much-needed shot in the arm. To celebrate the anniversary, phone accessory manufacturer Spigen is bringing the design of the iMac G3 to the iPhone X with a series of fun cases. The best cheap Apple Pencil deals of 2018 Unveiled through a suitably charismatic presentation by Steve Jobs on May 8 1998, the iMac G3 would go on to set itself apart from the pack with a range of colour options including Bondi Blue, Blue Dalmatian and Flower Power. Sir Jonathan Ive, the man behind the look of the iPod, is credited with creating the groundbreaking industrial design. Jobs summed it up best when he said "it looks like it's from another planet. A good planet. A planet with better designers." Spigen has proved that there's still a strong market for brightly coloured tech packed with turn-of-the-millennium appeal as its iPhone X Indiegogo campaign has already smashed its target. The manufacturer's Classic C1 phone cases are described as 'familiar but extraordinary'. Tapping into the nostalgia of people who grew up with the original iMac G3, these clever cases shrink down the desktop's design elements into something that you can carry around in your pocket. "We took the chance to deepen what we already knew of the iconic computer," says Spigen on its fundraiser page. "We personally bought, cleaned up and re-examined every part of the classic computer to bring it back for devices of today." The phone cases match the original colours of the first iMacs With a month to go until Spigen's Indiegogo pledge comes to an end, there's still plenty of time to snap up one of these cases for as little as $25. And with this phenomenally popular project having already sailed past its goal by 1139%, you don't even have to worry that your pledge will go unrewarded. Related articles: The 28 best iPhone apps for designers 10 trends shaped by the iPhone How Hey Studio seduced Apple with geometric shapes View the full article

This month's roundup is a mixed bag of new books, news skills, and new tools. One of the best titles out this May takes a modern, engaging approach to mastering to art of how to draw people – plus we look at the best pencils and papers to go with it. Another new book aims to demystify art, by explaining in simple language exactly what 300 iconic texts really 'mean'. Elsewhere, we look at a guide on how to give your landscapes new depth using mixed-media techniques – including found objects. Struggling with artists' block? We've got something for that – a book that explains what creativity is and how to unlock yours. And if that doesn't work there's a tried-and-tested resource from which everyone from Botticelli to Damien Hirst has found inspiration. Ever heard of 'snitte'? We sharpen our knife and take a look at the craft that is described as "a rite of passage for most Scandinavians". 01. Danish whittling Create everything from toys to butter knives from wood In The Danish Art of Whittling, Frank Egholm teaches you the ancient Danish craft of 'snitte'. This new book gives you a visual, step-by-step guide to a range of simple whittling projects for the home – wooden toys for children, a necklace, butter knives, and pretty much everything in between. It's a relatively cheap craft, since you don't need many tools to get started. And it's a relaxing, satisfying, and productive way to get away from the computer. Could it be your new favourite creative hobby? 02. Whittling knife Over time, the birchwood handle will mould to the user's grip This whittling knife is specially designed for woodcarving. It has a thin, tapered edge of laminated steel, which is tough, so it'll withstand lots of snitte before it's needs regrinding. And it also comes with a storage case, to keep it in good shape. Best of all, as you use it, over time the oiled birchwood handle will slowly change shape until it perfectly fits to your hand – which is when you'll know you're a true master of snitte. 03. Good wood Basswood is ideal for whittling People have been using basswood for woodcarving for thousand of years. It makes for a particularly good material for whittling because it doesn’t have much of a grain and it's soft and therefore easier to work with. This 10-piece pack is free of acid and lignin, plus each block is quite small, making it ideal for the beginner whittler, and for practising detail and finesse work. It's good snitte. 04. Art made easy The meaning behind over 300 famous artworks Patrick De Rynck and Jon Thompson hit the nail on the head in their new book, Understanding Painting: with all its talk of themes and symbols, art can be intimidating. Here they look at over 300 famous pieces – from the middle ages to the 20th century – and explain clearly and concisely what they 'mean'. Vermeer, Picasso, Hopper and more feature here. The language is simple and engaging, and it looks smart too. 05. Creativity unblocked Tips for unlocking your creativity In Being Creative: Be Inspired, Unlock your Originality, artist Michael Atavar talks about creativity and how to find yours, how to develop ideas, and how to bridge the big gap between the development stage and completing a projects – something even the most experienced creative can struggle with. With this book, Atavar aims to prove that creativity isn't some magical, possibly mythical thing floating about in the ether, but something real, inside everyone, waiting to get out. A good read for creatives in any field. 06. If all else fails … Artists throughout history have stolen ideas from mythology You've heard how talent borrows but genius steals? Well, the best of the best regularly steal ideas from classical Greek and Roman myths. In Flying Too Close to the Sun, James Cahill looks at how mythology has inspired the work of Botticelli, Caravaggio, Jeff Koons, Damien Hirst – plus the Coen Brothers, Margaret Atwood, and Arcade Fire – and how they've taken these ancients stories and weaved them into their own work. It tackles big themes like fate, jealously, and redemption, and is full of ideas on how you can use them in your work. 07. Mastering portrait technique A modern take on an age-old skill This Pocket Art guide to portrait drawing offers a lively, modern approach to this fundamental skill. London artist Miss Led is your teacher. She tells you what tools you need, how to understand the face, its features and expressions, and how to master the tricker stuff, like hair and skin. Best of all, she does it in just 112 pages. This is another title that is helping to bring art theory into the 21st century. 08. Portrait pencils These shades are perfect for portraiture This 24-piece set of pencils is perfect for portraiture, particularly certain skin and hair tones. It gives rich, creamy, vibrant colours, which are easy to blend, and look smooth on the page. They give a much more professional finish than your average coloured pencil. Not the cheapest, but excellent quality as always from the ever-reliable Prismacolor brand. They don't break easily. And come in a proper tin for safe storage. 09. Toned paper Toned paper is great for practising light and shadow Strathmore is one of the leading brands in art supplies – trusted by students, hobbyists, and professionals alike. This toned paper is an immediate way to refresh your portrait work. On white paper, you tone down. With this range of toned paper, you have to shade both down and up, which is great for practising light and shadow. Plus, non-white paper helps with eyestrain. 10. Textile painting Learn how to create impressive mixed-media landscapes Textile Landscape Painting encourage you to use paper and paint, fabric and thread, and found objects to create stunning landscapes with added depth. Author Cas Holmes guides you through it step by step – from coming up with ideas in your sketchbook, to stitching and painting them on cloth, and even completing these projects digitally. The book doesn't just focus on pastoral scenes either. It also looks at urban environments. Read more: Create a self-portrait with just 4 colours 10 tips for sketching moving subjects 20 phenomenally realistic pencil drawings View the full article

If you've been hard at work in your spare time creating stunning paper art or impressive poster designs, selling your merchandise online can be a quick way to make extra pennies for your efforts. However it's not as simple as sticking it on the internet and hoping people hand over their money. In fact there's a fine art to tempting people into buying your wares – especially now the lower barriers to entry mean anyone and everyone can sell their creations online. Luckily this crash course list of advice will get you ready for the fast-paced world of online design retail. Here we're focusing on Etsy, but there are other places geared up towards selling designer-maker goods – take a look at our list of great places to sell your design work online for more info. And if you're looking to start from scratch, it's worth reading our in-depth guide to how to succeed as a designer-maker for success stories and advice. 01. Get product photography right It can be helpful to include something to indicate scale Images are really important when selling on Etsy – or anywhere else online. It's the only way your customers are able to see what you're selling, so make sure your photos are clear, well-lit and appealing. In particular, make sure your backgrounds are plain and neutral – keep the focus on your products. However, it can help to include something for scale in one of your photos. For example, RockCakes shows her jewellery on a person (above), so prospective customers can see how big it is. 02. Use search terms in product titles Use the Title field to add extra info for your customers On Etsy, you need to provide each listing with a title. This is a great place to add keywords and search terms that your buyers will use to find your item. Some sellers mistake this as a place to title a work with a collection 
or item name – for example, calling a handbag 'the Julia' and leaving out important words that help search engines recognise the item, such as style, colour, material and manufacturing method. When writing your title, be sure to include descriptive words that your customers will use. 03. Experiment to see what sells These pins from Finest Imaginary are a summertime purchase Something successful sellers do is focus on their businesses. They are constantly experimenting and figuring out what works for them. This includes trying out new products, as well as new photos and new ways to describe their items. They also keep an eye on the results. What worked this year may not work next year, and seasonality and larger trends can play a big part in how well a shop does, so never stop experimenting. 04. Set targets for improvement Abi Overland offers a small but popular range of products on her Etsy site It's good to set small goals over the course of a week. For example, you could start by opening your shop with one item and then add another item each week. It's also worth signing up for the Etsy Success newsletter, which provides tips from top sellers on the site. Good luck! This article was originally published in Computer Arts magazine. Read more: Business tips for selling design goods How to make money on Instagram as a creative 8 golden rules of handmade View the full article

Learning how to draw and paint takes time, knowledge and patience. But, there are a number of drawing and art techniques you can adopt to help you along the way. Acrylics are a very flexible medium: they can be used direct from the tube to create thick dense colour, or, as we'll do here, watered down and layered to give depth and an almost ethereal quality. I try to embrace a spontaneity in my work, and the drips and splashes of watered-down acrylic lend themselves well to that process – even accidents that seem disastrous at the time. Let me take you through my process of painting when working with acrylic paints. 01. Start with sketchbooks and ideas Sketching allows room to explore your idea as it progresses My work always starts in the sketchbook. It's a risk-free environment to explore ideas and hopefully surprise yourself. I'm a constant doodler and I try and keep things as loose as possible throughout this stage, allowing for room to explore the idea as it progresses. 02. Move the sketch onto paper Really get a feel for the piece as you transfer the drawing I prefer to redraw my sketch, rather than transferring it using a light box or projector. It takes longer but retains the spontaneity of the original, as well as letting the idea develop further. I probably spend too long on this stage, but it does help me get a feel for the piece. This drawing also acts as an underpainting. 03. Prepare for the initial wash Using a mop brush, cover the entire surface with clean water Using a mop brush, I cover the entire surface with clean water, preparing it for the initial wash. Then I mix up the initial colour. I mix a lot of paint – in this case Prussian blue, Hookers green and a touch of Phthalo turquoise – which gives the colour a little more depth, using a lot of water to thin it down. 04. Apply the first wash Things can look a little messy at this stage – but I enjoy the spontaneity! I then load my mop brush with a lot of paint and wash it onto the wet paper, working across the paper and allowing the water to carry the paint down the surface. Things can look a little messy at this stage, but I enjoy the spontaneity, seeing how the paint goes down, and it will be worked on and refined later. 05. Work with the wash While it's still wet, get a feel for highlights by lifting paint off with a clean/dry mop brush While it's still wet, I start to work into the image, getting a feel for highlights by lifting paint off with a clean, dry mop brush. I also use a water spray from a garden centre to wash areas if I want to blend paint or remove it altogether. I repeat this process, gradually building layers of colour. 06. Build colour and tone Each layer is a very slight development on the last, creating denser colour and tone Each layer is a very slight development on the last, creating denser colour and tone. As the process continues I can refine areas more. When I want to create a harder edge I will paint an area with water first and then apply the wash, letting the paint run into the water and along the edge. 07. Blend different shades Working wet on wet produces subtle blends Working wet on wet produces subtle blends. I enjoy the softness this gives, but if I want to stop the paint running into an area I'll use a hair dryer to dry areas as I'm working. I don't worry about the drips – they're part of the fun – but if they do interfere with something I will lift them with the brush or wash them off with the water spray. 08. Add detail Use a selection of long-handled brushes to start to establish darker areas, enhance contrast and bring out key forms and shapes I now want to give the painting some form. I've aimed for an overall mid-tone at this stage and now I'll work with a denser mix of paint, using a selection of long-handled brushes to start to establish darker areas, enhance contrast and bring out key forms and shapes. 09. Introduce colour Don't worry about final hues at this stage, just lay down a ground colour Up until this point I've been working on tone and form. Now I want to add colour. Still working with thin washes, first I add a mix of Yellow ochre, muted with Buff titanium, to the figures. At this stage I'm not worried about the final hues – I'm just laying down a ground colour. 10. Keep it loose It's worth noting that colour looks strong when first applied, it'll be much paler when it dries I then add a wash of Alizarin crimson mixed with Quinacridone burnt orange to the flowers area. I'm not painting the flowers as such, rather adding colour areas that I can play with later. It's also worth noting that however strong the colour looks when you first apply it, it'll be a lot paler once it dries. 11. Layer washes It's at this stage that the painting starts to gain its depth From now on it's really a matter of repeating the process, alternating between gradually building colour and tone with additional washes and working on areas of detail. It's at this stage that the painting starts to gain its depth. Colours become deeper, shadows grow darker, and detail and form are more defined. 12. Evaluate the painting A long-handled flat brush helps shape the painting I continue to step back and evaluate. I aim to create a flow through the piece, but the composition seems to be missing something to lead the eye out, so I'm adding detail to the bottom corner. I shape it with a long-handled flat brush but purposefully keep it looser than the more defined flowers – this will create depth, helping to foreground detail. 13. Refine details Now you are able to focus on detail Now I'm able to focus on the detail. I tend to move from my easel to a flat surface. I like to be 'over' my painting at this stage. It's now that the painting starts to come to life, as I'm able to focus on the fine details that create character. 14. Revisit undefined areas It's time to revisit the areas to which rough colour was previously applied It's time to revisit areas to which I've previously applied rough colour. I'm now able to go in and work on them, adding refinement, detail and depth. 15. Appraise and finalise The final stage is to step back again and look for any areas that need tightening up The final stage is to step back again and look for any areas that need tightening up and any opportunities for additional detail to add narrative to the painting. Here I feel that some thin bones would add context to the bird skull. This article was originally published in ImagineFX, the world's best-selling magazine for digital artists. Subscribe now. Read more: How to use gold leaf in your multimedia art Choose which paint brush to use Create more interesting skin tones with acrylics View the full article

You're reading How to Plan Your Website Redesign for Success, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! Redesigning a website is always a challenge because it requires a lot of resources and can be quite risky. The idea of implementing the newest technology and design trends is tempting. But as a rule of thumb, it is better … View the full article

We've all been there. You've got a project that you really need to get started on, but you're just not feeling it. Instead you find yourself researching tablet accessories you've had your eye on, hunting out new designers to follow on Twitter or deciding that now's the time to try out some desk exercises. It's amazing how much time you can kill when you ought to be getting on with something important. Learn how to break the procrastination habit with these top tips. 01. Figure out the trigger Ask yourself some searching questions. What goes through your head when you decide not to start quite yet? Do you not know where to begin? Are you worried what you create won't be good enough? Is it something more physical like tiredness or hunger? Like death, procrastination has a plethora of possible causes. If that sounds unpleasant, you could always procrastinate by doing some work instead. 02. Start anywhere Perfectionism is often the real culprit for procrastination – but it can't be perfect if you haven't actually done it. Make a start and you'll have something to play with and refine. It's daunting, we know, but you probably never think: 'I definitely don't wish I'd started this earlier. Stress is so much more pleasant than sleep.' Just do something. Anything. It'll be better once you start. 03. Turn off message alerts Some people recommend checking email just once or twice a day, which feels absurd when you're a one-person business. However, studies show it can take more than 20 minutes to get back on-task after reading just one email, so try to find a happy medium, like checking it once an hour. The same goes for Slack, Twitter, WhatsApp, or however you like to communicate. Constant alters are a sure-fire way to veer off-course. 04. Break it into chunks Don't put whole tasks on your to-do list, because that doesn't tell you what you need to do or enable you to keep track of any progress made. Break things down into individual steps. Tick them off and reward yourself for getting each one done. A word to the wise: it's best to leave the reward until after you've done the task. Rewarding yourself for thinking about the task is also pushing it. 05. Try a tomato timer Unnerved by the blankness of time stretching out before you? Try using the Pomodoro technique to contain your work (and your fears). There's a whole host of free apps out there, but they all use the same principle: work for 25 minutes, relax for five, repeat. It works so well that you might even procrastinate from taking the five-minute break. This article was originally published in Computer Arts, the world's best-selling design magazine. Subscribe now. Related articles: 12 tips to turbocharge your design career 5 simple ways to avoid creative burnout The dos and don'ts of perfect portfolios View the full article

The flaws threaten to expose corporate communications in Outlook as well as the messages of at-risk users like political dissidents. View the full article

A phishing scam fooled victims by claiming to be Apple and scooping up personal details – including financial information and Apple account information. View the full article

Samsung updates S9, Note 8 and S8 phones with 27 patches from a RCE bug to a patch that prevents an ancient peek-and-poke attack first identified in 1980s. View the full article

Mobile is becoming a primary platform for most people thanks to the availability of smartphones. If you aren’t ready for the shift, you’ll be left behind. Pick up the skills you need to develop and build for Android, the biggest mobile platform around, with the Complete Android Developer Course for just $17 (approx. £13)! If you’ve been itching to learn how to create apps for Android, the Complete Android Developer Course can help you scratch that itch. With over 31 hours of content taught by expert Rob Percival, you'll learn how to make the most out of the latest version of the Android operating system. This massive course will walk you through building 14 apps, showing you the process step by step so you can apply it to your own creations. The Complete Android Developer Course usually retails for $199. Right now, you can save 91% off that price and pay just $17 (approx. £13). It's a great price to pick up the skills you need to develop apps for Android, so grab this course today! Related articles: 18 of the best Android apps to download for creatives 8 Android apps to unlock your creativity The 13 best free Android apps View the full article

Finding a good Apple Pencil deal isn't always easy. Certainly, you’re unlikely to see a cheap Apple Pencil on sale in the Apple Store. But there are savings to be had, if you know where to look. Apple’s sophisticated digital stylus is perhaps the most amazing consumer stylus ever designed. It’s fantastic to use, with pressure and tilt sensitivity making it quick and easy to sketch ideas, create stunning images, take notes and more. However, if you’re already part of the Apple ecosystem, you’ll know that nothing comes cheap. That includes the Apple Pencil, which only comes bundled with the new iPad: if you want one for your iPad Pro you'll need to buy it separately. Fortunately, we can help. We’ve compared prices from all over the world to bring you the very best Apple Pencil deals and discounts available right now. 9 iPad Pro apps that make the most of Apple Pencil What is the Apple Pencil used for? Image: Malika Favre and Sarah Clifford for Apple The Apple Pencil is a versatile digital stylus pen that lets you take notes, sketch ideas, create illustrations and paintings, edit spreadsheets, annotate or mark up documents and more. It operates like a traditional pencil, letting you vary line weight, create realistic and subtle shading, and produce a wide range of artistic effects with impressive accuracy. Drawing feels natural, with no lag to ruin the illusion – and setup is incredibly easy. Just pop the cap off to reveal a Lightning connector, and plug it into your iPad Pro. (That's also how you charge it.) The Apple Pencil works with a range of art and design iOS apps including Adobe Draw and Sketch, Procreate, Affinity Photo and more. Related articles: The 90 best iPad apps Apple launches iPad with Pencil support The best drawing tablet View the full article

Drawing the human body without some knowledge of anatomy is like playing a board game without the rule book and some key pieces missing: It’s frustrating and confusing. After you learn all the rules and get good at the game, you can change the rules. But that’s because you understand the dynamics of the game and you can change things to improve it. Being confident with anatomy makes drawing easier and more fun! In this workshop, I’ll give you some advice to guide your anatomy studies, so you can learn how to draw people accurately, and with confidence. 01. Think first, then draw Scribbly lines are a sign your brain is still processing the image Anatomy is very specific and the difference between a drawing that’s 'right' and a drawing that’s 'wrong' can be subtle. If your drawings are scribble-like and you don’t commit to any one line, your brain is busy just processing the image, so it won’t notice anatomical mistakes. If you’re studying anatomy, you should have a good foundation in basic drawing skills already, and you should use it. 02. Ignore gesture at your peril Gesture is still essential for capturing convincing figures Gesture lies at the heart of every figure drawing. Anatomy should be a new layer, and a new way to express gesture… not a replacement for it. The anatomical forms should be designed to follow and reveal the gesture. 03. Memorise the simple forms Break down the shapes into simple forms The human body is organic. It’s full of curves, bumps and mushy-looking things. But your drawings shouldn’t look mushy. You can try to copy exactly what you see, but if the understanding and accuracy isn’t there, then it will show. A better approach is to learn to break down the body into simple forms. This is why I teach the simple form for all areas of the body. Simple forms are simple enough that you can actually memorise them, and pull them out of your pocket whenever you need to. 04. Pay attention to the skeleton Learn what lies underneath the skin It’s easy to tell when an artist doesn’t know the skeleton, even if you’re just looking at their fully fleshed figures. The muscles won’t aim to the right place. The skeleton is complicated, but there’s much less variation in the forms of the skeleton than the forms of the muscles and body fat. Knowing the skeleton makes it easier to construct the body, understand how it works, and put the muscles on top of it correctly. Take the time to learn it and your drawings will benefit for the rest of your career. 05. Review and correct Assess your work critically after every drawing After you finish a drawing, take a critical look at it to see where you can improve. You can ask a friend, mentor or online community for help. Then, actually follow through on what you notice, and make corrections to your drawings. It’s not enough for your eyes to see what went wrong – your hands have to fix it. You can do this to yesterday’s homework, or even drawings you made months or years ago. 06. Don’t just read about it Lots of drawing is the best way to improve Reading or listening to an explanation of anatomy may be enough for you to intellectually understand it, but that doesn’t mean you can draw it. We’re artists. We have a bigger job to do than just understand anatomy. You have to learn to draw it so it’s believable and interesting. And the only way to do that is to draw. Draw a lot! 07. Steer clear of snowmen Humans aren't perfectly symmetrical Don’t draw symmetrical bulges everywhere. That makes your drawing look stiff and boring. The contours tend to zigzag down the body, creating a dynamic flow. Furthermore, muscles usually work in pairs: when one side flexes the other is resting. 08. Don’t include every detail Learn to simplify what you see Remember: not every bone, tendon and muscle has to be accented in every drawing. Indeed, anatomical details in the wrong spots can make a drawing look stiff and fake. Pick and choose details that support the overall picture, and let those be enough. In general, you’ll probably choose details that are at or near the focal point, and that flow with the gesture or composition. 09. Be patient The human body is complex – learning it takes time Learning anatomy is a slow process. Learning anatomy is a slow process. Take your time on every drawing and with every area of the body. You can’t learn everything in your first pass. You’ll have to come back to review and add to your understand of all the parts every few years for the rest of your career. Don’t expect to be a master immediately. Never stop learning. 10. Be goal-oriented in your practice Focus on improving different aspects of your work There’s a lot to anatomy to study and lots of aspects of it to study. For example, if you’re practising gesture, the anatomy needs context. Make the forms work with the pose and focus on making the anatomy dynamic. If you’re studying form, use cross contour lines and shading to add dimension. Focus on constructing the body parts using simple forms and avoid organic forms you don’t understand. Pick a goal and focus on it. Make sure you’re getting the most out of your practice time. 11. Try different exercises Taking on different challenges will bring variety to your studies Anatomy tracings, drawing from life, drawing from photos, drawing from your imagination, drawing from other drawings (master copies), sculpture… Not only is this fun, but it helps your brain process information in different ways, and fills in gaps in your knowledge. 12. Get to grips with the language Learning the technical names for things can help you think about them more fluently There’s lots of memorisation with anatomy, and it can be overwhelming if you’re hearing all these terms for the first time. Terms like medial and lateral, abduction and adduction, origin and insertion, subcutaneous and so on. Consider making flashcards or other old-school study methods to help memorise the bulk of the terminology babble. When you can speak about anatomy fluently, you can think about anatomy fluently, which means you’re going to have an easier time when you’re drawing. This is the least important part of anatomy for artists, but it sure is helpful. You’ll feel a lot better when you know the terms. And of course, you’ll leave your fellow spellers in the dust on Scrabble nights! This article was originally published in ImagineFX, the world's best-selling magazine for digital artists. Subscribe now. Read more: How to draw hands Create more interesting skin tones with acrylics Art techniques: top tutorials for painting and drawing View the full article

When it launched seven years ago, PORT’s proud subtitle – The Intelligent Magazine For Men – seemed a reasonable qualifier. In the trashy, dying days of Loaded and Maxim, the qualification made sense. But arriving in a metro culture wary of tainted male celebrity, the (assumed) gender exclusivity of PORT and indeed the very notion of a ‘men’s magazine’ seems more problematic. Just what exactly is a men’s magazine? PORT's smart new look can’t conceal an underlying editorial anxiety about its own identity. A frank editorial by founding editor Dan Crowe admits that it’s “time to make some changes around here", the theme of the new issue – freedom – firmly establishing PORT's commitment to inclusivity. And the new cover does show the magazine breaking with the past. 10 ways to make your magazine cover stand out Its famously moody, mostly monochromatic covers of iconic men had increasingly teetered on the edge of Pour Homme parody, and despite a touch of revisionist self-indulgence when Crowe asks of himself “Do we always have to have a man on the cover? Who came up with that rule?” (er, you Dan?) issue 22 wisely sidesteps the issue of who’s toxic and who’s not, opting instead for a stunning photograph of novelist Chimamanda Ngozi Adichie. PORT's smart new look can’t conceal an underlying editorial anxiety about its own identity It’s a beautiful cover. Woozy, narcotic, electric typography and, crucially, nothing to indicate PORT's origins as a ‘Gentleman’s’ magazine. In fact the cover seems to suggest that maybe what interests men now is what women have to say about the world rather than traditional PORT-royalty like Daniel Day Lewis or (Mr) Steve Buscemi. Adichie is only the second female cover star for PORT. Hollywood actress Juno Calypso shared a split-run cover with Ethan Hawke but that nod towards sexual equality might have been more convincing if Calypso hadn’t been naked in a bath for her cover whilst Hawke brooded full-clothed in a Dior Homme suit. But that was then and this is now. Making Adichie – the Beyonce-sampled, award-winning writer and polemicist – the cover and centrepiece of the magazine clearly demonstrates PORT’s new willingness to adapt, and the interview allows PORT to silently endorse and adopt Adichie’s liberal, all-inclusive manifesto as its own. Adichie is only the second female cover star for PORT A welcome shift Apart from the welcome shift in tone, PORT's cultural aspirations remain reassuringly high. The opening section – The Porter – is as erudite as ever, and any reader looking for sound bytes on the latest Manic Street Preachers album or a snappy appraisal of the latest Marvel movie may be disappointed to discover instead Tilda Swinton on writer John Berger, Geoff Dyer on photographer Garry Winogrand and an all-too-brief peek inside the studio of artist Gavin Turk. The more old-fashioned diversions into traditional male tropes, such as a love letter to Havana cigars – “an hour of precious time that completely takes over your senses...” – are, thankfully, few and far between. PORT continues to demonstrate its mastery of less-is-more brutalism, with some stunning minimalist treatments In the Details section, PORT (maybe) pays its dues to its heavyweight advertisers in a lovingly-lit showcase of consumer porn. Canali sunglasses sit next to Bulgari watches and Prada clutch bags, with nothing as vulgar as a price anywhere to be seen. If you have to ask, etc. And the high-brow summit of the issue is a trio of 1949 conversations between Samuel Beckett’s and Georges Duthuti. It’s jarring, to say the least, to confront the lord of literary doom and gloom after 34 pages of glossy ads for the likes of Giorgio Armani, Prada and Louis Vuitton, but such are the culturally muddled times we live in, and all credit to PORT for holding fast to its high-minded values and bringing in the ad revenue. The rest of the magazine is just as good and impressively varied. Whilst many indie mags have burrowed ever deeper into their respective niches, PORT has become even more wide-eyed and ambitious, moving effortlessly between glossy, non-sensical fashion shoots and dense, brilliant essays without so much as a blink in tone or sincerity. If PORT cover it, they believe it, and half the fun of a magazine so esoteric is finding yourself in places you might never expected to wind up. Guest art-director Matt Willey rarely makes obvious design choices. For the key feature opener, he sucks the colour out of Mamadi Doumbou’s stunning photographs and tips all the type 90 degrees Ex-founding director Matt Willey has guest art-directed the new issue with a sensitive but sure touch. The design happily hangs between elegance and disorder, and nods towards modern graphic design trends with braver colours and extra brutalism. The idiosyncratic treatment of straps and quotes – oddly justified, randomly spaced words – can become a little wearing over time, and for a magazine so committed to the beauty of words, this design quirk seems a little out of place. But the new bespoke typeface designed by Willey is a real triumph. Squat, aggressive, menacing; it adds to the heavier, punchier atmosphere and binds the magazine together. The new font is wonderfully flexible, working well over photography but looking equally stunning in isolation Overall, the new look is more of an upgrade than a major redesign – it feels as if PORT’s loosened its tie rather than actually bought a new suit – but hopefully the brave adjustments to its own agenda will reward it with a whole new audience. Treading higher ground than its mainstream rivals is hardly a challenging ambition (the latest issue of GQ deploys the term ‘manssential’ without any hint of irony whilst reviewing a £1,000 cigarette lighter), but PORT really is in a league of its own, and only getting better with age. Buy PORT magazine here Also read: Eye on Design review View the full article

Starting and running a successful design studio takes guts, determination and a fair bit of business savvy. It can be hugely rewarding, but you also need to know what you're letting yourself in for. As our freelance survival guide shows, there are plenty of considerations to bear in mind when going it alone – but these responsibilities are multiplied when you're running a business and have staff, infrastructure and other things to worry about. Whether you're just starting out or are looking to build your reputation and grow your studio, we've gathered together a collection of content to give you the insight and inspiration you need to be successful. This includes creative business advice, useful insights on how to create a better studio culture and working environment for your staff, and self-promotion and portfolio ideas to get your name out there. So read on for our essential guide to how to run a more successful design studio. If we haven't covered a particular burning question for you, fear not – we will continue to add to this collection with more invaluable studio advice each month. 01. Inspirational design studios 02. Design studio business advice 03. Advice on design studio culture 04. Self-promo advice for design studios 05. Design studio portfolio advice View the full article

Parallax scrolling is no longer the guaranteed attention-grabber it used to be, but there are other ways of using parallax techniques to engage your visitors and enhance your user experience. Take a look at Mr Fisk's site, designed by BMO, and you'll notice a different sort of parallax going on: its brightly-coloured main image moves in 3D, in response to your mouse movements. 5 tips for super-fast CSS It's an impressive effect that's not too hard to implement; simply follow these steps to give your site an eye-catching sense of depth. 01. Initiate HTML The first step is to define the HTML document, which consists of the HTML container for storing the head and body sections. While the head section is primarily responsible for loading the external CSS and JavaScript resources, the body section will store the content elements to be created in step 02. 02. Content elements The technique will allow any content container using the data-parallax attribute to display the effect. Each first level child element will display with the parallax presentation. This example sets three child layers for the parallax, but you can add more if you want to. You can also add content to these layers such as text or images; PNG or SVG with transparency will work best. 03. Parallax container style Create a new file called 'styles.css'. The first set of rules in this file sets the default size of the parallax container and its position mode. It's important to use relative positioning so that the child elements can be placed in relation to wherever the container is located. The width and height are set to cover the full screen to allow for maximum interactivity. 04. Parallax children Each of the first level elements inside the data-parallax container are sized and positioned to appear centrally. Along with parents relative positioning, percentage is used as the measurement unit, allowing the sizing and positioning to be placed in relation to the parallax container. For this example, a transparent red background is used to demonstrate the effect – you can replace this with PNG or SVG image of your choice using @background: url ("your image here"). 05. Initiate the JavaScript Create a new file called 'code.js'. JavaScript will be used to control responses to the user's mouse interactions. We don't want the JavaScript to run any of the JavaScript code until the page has fully loaded, hence the code for steps 06 and 07 placing a function triggered by the load event, which activates when the window has completed loading. 06. Node search The first activity of JavaScript to execute immediately after the page is ready is to find all of the parallax layers. Firstly, the parallax containers are found, followed by their children. Each child has an index number applied to them under the 'data-index' attribute. 07. Parallax listeners The final step is to apply an event listener for any mouse movement occurring over the parallax container. Any such actions trigger a feature to calculate the new positions of the parallax layers based on the mouse position and the data-index attribute defined in step 06 – resulting in each layer updating at different paces. The result of each calculation is applied to the layers via the style attribute. This article was originally published in issue 272 of creative web design magazine Web Designer. Buy issue 272 here or subscribe to Web Designer here. Related articles: Animate SVG with JavaScript Create liquid effects with WebGL 10 ways to avoid cross-browser compatibility issues View the full article

Whether you're an art director, graphic designer working from home or a web designer, getting your typography right is essential if you want to get your message across in the way you, or your client, intended. For an in-depth look at various aspects of typography, check out our typography tutorials. In this post, we look at common type mistakes, how you can avoid them and offer up some further reading along the way. 01. Thou shalt not use default kerning Don't trust InDesign to do your kerning for you We see it far too often: a great piece of design ruined by shoddy kerning. When setting any headline in InDesign CC, IllustratorCC or even PhotoshopCC, don't trust the software's judgement. Take your time to look at spacing between pairs of letters (kerning) and the spacing of the whole word (tracking). You have a lot of control (rather understandably) over kerning and tracking in InDesign. First, go to Preferences > Units & Increments > Keyboard Increments > Kerning/Tracking and set your required increment. Now you can use the Alt/Opt and left/right arrow keys to fine-tune your spacing. You'll find further advice in our article on kerning tricks. 02. Thou shalt not overuse script fonts Script fonts don't automatically add 'class' to a design – their use needs to be considered carefully Okay, there are times when a nice script font works (usually at large sizes; maybe in vintage logo designs or similar), but for most general design jobs they are unnecessary. Think of how many times you've seen the awful Zapfino cropping up in headlines and even body copy on amateurish posters, leaflets and other printed collateral. Yuck. And you definitely shouldn't be even thinking about using a script font of any kind in body text. Just don't do it – no-one will read it. On those occasions when script is appropriate, though, check out our collection of free script fonts. 03. Thou shalt not place type over busy backgrounds There's nothing worse than not being able to read a message because the background is overpowering it. Yes, you may have a beautiful photo that needs to go in the background, but don't hunt for a space to overlay your type: think about the treatment in a sensible manner. You may need to set your types in blocks of solid colour in order for it to stand out, or even crop the photo differently and run your text somewhere else in the design. Think about legibility. You may be able to read it – you know what it says – but your audience may just miss it. 04. Thou shalt not use many many fonts It's great having access to thousands of fonts – but you don't have to use them all at once It's the cardinal sin of type – using too many fonts. Although we all have access to thousands of free fonts to use in our design work, thanks to the likes of Google Fonts and services such as Font Squirrel, you don't need to use them all at once. Using multiple fonts across a site, magazine or, well, any piece of design can confuse and distract from your message. A general rule of thumb is to use no more than three fonts in your design (although there are exceptions, such as illustrated type pieces). 05. Thou shalt not fake small caps There are many fonts that come with small caps versions – so use them Faking small caps never looks good – in fact, it looks downright ugly. So, if you're looking to add a bit of variation to your headlines by using small caps, pick a font that has one. There are loads of free quality ones available – just take a look at these for starters. 06. Thou shalt not use fake italics Don't turn fonts automatic by skewing them – use the proper italic version Though it's increasingly rare to find a font without an italic case, if you are using one don't be tempted to skew the font to make it italic – it won't look good. At all. Your curves will be distorted, stroke weight will be all out of sync and, well, do we need to say more? Block the little Skew (False Italic) icon in InDesign out of your mind – it's for the best. For more on this, see this handy little post from type designer Mark Simonson. 07. Thou shalt not use all caps Setting all text in caps will make it difficult to read Whilst capitals can look much slicker and, dare we say it, cooler in body copy, using all caps will turn your important body copy into an illegible mess. The reason? Well, according to this article on Fonts.com, the most common explanation is that we don't read letter-by-letter, but rather by word shapes "which are in part created by the position and frequency of ascending and descending characters". So if you set something in all caps, it becomes a challenge to read. 08. Thou shalt not reverse type For the sake of legibility, avoid white text on a black background Just like commandment 07, reversing type out of a dark colour (so using it white) does nothing for legibility. As this useful guide from UXmovement.com mentions: "You should avoid using white text on a dark background when displaying paragraph text to make it easier from them to read. Forcing users to fixate on the white text for a long time can strain the user's eyes." This is because white stimulates all three types of colour sensitive visual receptors in the human eye in nearly equal amounts. However, as the article also mentions, there are times when you can use white on a dark colour to highlight a particular element on your site or in your design. 09. Thou shalt not combine serifs Some typefaces just don't go together Whatever you do, don't use a serif for a headline and the body copy that follows. It will throw your typographic hierarchy all out of balance. In fact, try not to combine any fonts that are too similar. When using a serif for a headline, try a sans for body; when using a serif in your body copy, try a slab. A lot is about trial and error, but we recommend reading our 20 perfect font pairings post to set you off on the right track. Remember… contrast, not conflict! 10. Thou shalt not use long measures Go for between 45 and 75 characters What is measure? Simply put, it's the length of a line of type – or the width of a column, if you like. Too long or too short and your reader will have to fight to construct the sentences; it can be very distracting. There are a number of different theories on the ideal line length. Eric Gill in his 1931 book An Essay on Typography suggests that the ideal line length consists of 10-12 words, whereas Robert Bringhurst recommends in his 2004 book The Elements of Typographic Style that 66 characters is best for optimum legibility, but anything between 45 and 75 is okay. Choose a theory and stick to it. And the 11th commandment... Thou shalt not use Comic Sans. (Well, we had to put it in, didn't we?). For more on this, see our post on the person who inspired Comic Sans, and what he thinks of the font. Related articles: 46 great handwriting fonts 23 places to download free fonts 43 free retro fonts View the full article

Researchers maintain Microsoft’s vaunted Arbitrary Code Guard in the Edge browser can’t stop hackers from mounting attacks. View the full article

You can create all manner of images and effects in Photoshop CC, and there are plenty of Photoshop tutorials, like this one, to help you do just that. Here we'll show you how to create a single tile for a repeating pattern, then you can fill as big or as small an area as you like with it... Download the example PSD here. 01. Create a document for the tile Your new document needs to be a size that is divisible by three Pick how thick you want each stripe to be; the only rule is that whatever you number you pick has to be divisible by three. Now you need to do some maths. On a calculator, divide 8 by 3 (you should get 2.66666667), then multiply this by whatever number you've picked for the thickness of the stripe and create a Photoshop document with this figure as the dimension of each edge. So for a 90px stripe, you'd create a document 240x240px. (Bonus tip: you can do maths in a Mac's Spotlight search field. Click the magnifying glass in the menu bar and then enter, in this example, '90*(8/3)' and you'll get the answer 240.) 02. Draw the first stripe Add a black line of your desired thickness (Click the icon to enlarge the image) Drag a guide from the ruler (cmd+R if it's not showing) and let it snap to each edge of the document (check your options in View > Snap To if they don't click to edges as if magnetically). Fill the background with yellow and then select the line tool. Make sure your foreground colour is black, enter the thickness of your stripe into the Weight field at the top of the screen (90px in our example) and draw a line from one corner to the other. 03. Create the other stripes Duplicate your stripe layer (Click the icon to enlarge the image) Duplicate your stripe layer (an easy way to do this is to drag it to the new layer icon – a piece of paper with an upturned corner – at the bottom of the layer palette) then hit cmd+T to enter Free Transform mode. Note that a crosshair icon appears in the middle of the layer; drag the duplicated stripe (not by grabbing the crosshair) so that this crosshair snaps to the top left corner of the document. Hit Return to confirm the move. Duplicate the stripe again and drag this one to the bottom right in the same way. (Save this now as a .psd if you think you might want to change it later.) 04. Define the stripes as a pattern Give your pattern a name (Click the icon to enlarge the image) Go to the Edit menu and pick Define Pattern. Give it a name and click OK. 05. Use your stripes Select the area you want to fill with your pattern Select an area you want to fill with stripes and then pick Fill... from the Edit menu. From the Use menu, pick Pattern and select the warning stripe pattern you just created. Click OK. 06. Add your own effects Add your own effects to the pattern You're done! We've also added a soft gradient on our example. Of course, you can do anything you like to the stripes – distress them, apply bump maps, or anything else! Like this? Read these: The 16 best photo editing apps 60 free Photoshop actions 55 best free Photoshop brushes View the full article

They say that change is the universal constant, but it's also the focus of this year's TYPO Berlin conference. Taking a look at the hot topics of the moment, including digitisation and personal data, TYPO Berlin will explore the role design plays in a radically shifting world. How to organise a conference Themed around the idea of triggering, this year's TYPO Berlin also looks into the mechanisms of the digital transformation, and that doesn't just mean kinetic typography. Covering current issues such as fake news and fact checking, the event will also ask the question: is it time we put people first? Hosted in the amazing House of World Cultures, TYPO Berlin 2018 is a three day event that brings together more than 60 speakers split across five stages. To help you keep on top of all the talks, we've scoured the TYPO Berlin 2018 schedule and rounded up the top 10 presentations we're looking forward to. 01. Annie Atkins Having worked on the likes of The Boxtrolls, Bridge of Spies and Wes Anderson's Grand Budapest Hotel, Annie Atkins knows how to tell a director's story through graphic design. In her talk, Atkins shares her secrets for creating designs and props for filmmaking. Catch her on Saturday 19 May at 11am in the Hall venue. 02. Ed van Hinte Acclaimed industrial designer and design critic Ed van Hinte takes to the Show stage on Saturday 19 May at 4pm to deliver his talk, Trigger Happy. Tying into the overall theme of this year's TYPO Berlin, Hinte's presentation will focus on "an arrangement of triggers to improve the prospects of humanity by replacing matter with idleness." 03. Elliot Jay Stocks Like many of us, Elliot Jay Stocks has found creativity strikes at the 'wrong time'. In his talk on Saturday 19 May in the Hall at midday, the multi-talented designer, musician and creative director reveals now has never been a better time to follow your passions and make a living from what you love the most. 04. Toshi Omagari Monotype's Advanced Typeface Designer, Toshi Omagari, looks at the benefits of creative limitations in his talk on Thursday 17 May at 7pm in the Show venue. Using the pixel grids of old video game graphics as his jumping off point, Omagari explores how restrictions are an important ingredient when it comes to problem solving with design. 05. Aaron James Draplin The legendary graphic designer, Aaron James Draplin, can be seen at the midday talk on Friday May 18 if you swing by the Hall venue. In his talk, the Draplin Design Co founder sets out to cover how graphic design has reached into unrelated areas of his life, as well as looking at the new things he's been up to. He's also hosting a workshop on Saturday 19 May where he shows you how to make a logo the DDC way. 06. Madeleine Morley What effect has digital culture had on print design? That's the question design and art writer Madeleine Morley looks to answer in her talk on Friday 18 May at midday at the Stage venue. By looking at a variety of print titles, Morley tracks the ways editorial designers have reacted to the rise of online publications. 07. Hansje van Halem Graphic designer Hansje van Halem has gathered recognition thanks to her distinctive and experimental typography. In her Magic Eye lecture on Friday 18 May at 3pm in the Hall, Halem shares her design process and 'practice makes perfect' mindset. 08. Laura Reinke Just what does it take to break into design these days? It's a complicated question, but PAGE editor Laura Reinke attempts to break through the buzzwords and deliver some practical advice as she sits down with UX, information and service designers on Friday 18 May at 4pm in the Stage venue. 09. Prof. Gerd Fleischmann Having come to typography accidentally, the discipline has now become the passion of Prof. Gerd Fleischmann. In his talk, Fleischmann examines Kurt Schwitter's famous Theses of Typography through a typographic lens, and asks what art and aesthetics mean to typography. To listen in, visit the Hall venue at 6pm on Friday 18 May. 10. Bettina Andresen Bettina Andresen is a communication designer with a passion for book design, which means she knows a thing or two about whether or not certain fonts are easier for dyslexics to read. In this talk on Saturday 19 May on the Stage at 4pm, Andresen talks through the results of her dyslexia fonts reading test to find out if certain fonts are more recognisable than others. Related articles: 5 typography trends for 2018 4 top typography tools for web designers 20 fonts every designer should own View the full article

There are many tools available for the digital artist, from graphics tablets to the best software to a whole range of learning resources. However, one tool that is often overlooked is the podcast. While it may seem like an odd choice, podcasts are a great way for artists to get inspired, connect with other artists, and learn more about the visual and creative arts industries. But with so many to choose from, where do you start? Good news! We've compiled a list of 10 of the best to help get you going. So scan the list, and put one of these on in the background the next time you sit down to create. See if it doesn't help shake some of those cobwebs loose. For more info on treats for your ears, take a look at our posts on the best podcasts for graphic designers and for web designers. 01. Chris Oatley Artcast Listen on iTunes Recommended episode: Visual Development Mythbusting :: ArtCast #108 Description: "A Disney character designer answers your questions about concept art, character design for animation, digital painting and illustration." Chris Oatley's podcast provides valuable information to aspiring artists who want to become professional visual storytellers, or artists already in the business. Each episode, Oatley interviews a professional artist, past guests include Jake Parker and Stan Prokopenko. These talks are both informative and inspirational. 02. Lean Into Art Listen on iTunes Recommended episode: LIA Cast 225 - Creative Monsters of Doubt Description: "Topics and conversation that explores design thinking, creative communication, visual arts, comics, illustration, creative coding and more." Hosted by visual storytellers Jerzy Drozd and Rob Stenzinger, the Lean Into Art podcast focuses on the process of good design and living the life of uncertainty as a visual artist. The hosts tackle topics like composition, colour and the best way to communicate ideas visually. This is one of the best podcasts out there, especially if you're a comic book artist or enthusiast. 03. The Lonely Palette Listen on iTunes Recommended episode: Ep. 16 - Vincent Van Gogh's "Postman Joseph Roulin" Description: "The podcast that returns art history to the masses, one painting at a time.” The Lonely Palette podcast is more about traditional art and art history rather than digital design and illustration. Each episode focuses on a different painting, with host Tamar Avishai interviewing unsuspecting gallery visitors in front of it, and then going on to explore everything about the painting, from the artistic movement it comes from to its social context. Listening to the Avishai explain the history behind each painting and its artist immediately (and deeply) connects you with some of the most well-known artists in history. 04. The Collective Podcast Listen on iTunes Recommended episode: Ep. 174 - Marco Nelor Description: "Weekly episodes of entertaining, informative, honest discussions with creative industry professionals from around the world.” The Collective Podcast with Ash Throp is a notable choice if you're interested in learning more about the individuals behind the creativity. In each episode, Throp interviews different artists – from creative directors and illustrators to game designers and programmers – about their work, the struggles they face as a creative and how they achieve proper work-life balance. 05. 3 Point Perspective Listen on iTunes Recommended episode: 2. Am I Too Old to Get Started? Description: "Illustration, how to do it, how to make a living at it, and how to make an impact in the world with your art." Relatively new to the podcast scene is 3 Point Perspective hosted by Will Terry, Lee White and Jake Parker. All three are professional illustrators and collectively have published over 50 books. Each has also taught art and illustration at US universities. Every week, Terry, White and Parker tackle a different subject related to art and illustration from three different perspectives. They break down each topic, and answer questions like ‘My art is great, why won't anyone hire me?’ and ‘Am I too old to get started?’ 06. The Modern Art Notes Podcast Listen on iTunes Recommended episode: Episode 338: Terry Winters, Stefanie Heckmann Description: "A weekly, hour-long interview program featuring artists, historians, authors, curators and conservators.” The Modern Art Notes Podcast, hosted by Tyler Green, is another podcast that is focused more on traditional art rather than digital illustration, but the interviews are fascinating and well worth the listen. In this podcast, Green talks with artists and curators and helps listeners gain historical insight while providing a conversational style that's enjoyable and informative. Pulitzer Prize-winning art critic Sebastian Smee called The MAN Podcast “one of the great archives of the art of our time”. 07. The Creative Pep Talk Podcast Listen on iTunes Recommended episode: 177 - Are You Sabotaging Yourself? Description: "Through talks filled with bizarre analogies and Fraggle Rock references, and interviews with top creative professionals, Dr. Pizza is ready to PEP YOU UP!" The name says it all. The Creative Pep Talk Podcast, hosted by Andy J. Miller (a.k.a Andy J. Pizza), is an excellent podcast if you need a pep talk. This inspirational and motivational podcast breaks down the various processes needed to help you plan out a successful career in the creative arts industry. 08. Roundabout: Creative Chaos Listen on iTunes Recommended episode: Episode 60 - Aaron Blaise Description: "Join Tammy Coron and Tim Mitra on an epic journey. Topics include interactive design and development, animation, creative writing, technical writing, gaming, movies, music and zombies. Yes... zombies." Hosted by me (Tammy Coron) and Tim Mitra, Roundabout: Creative Chaos explores the personal stories behind what drives a person's creativity. You'll hear from different creative individuals from all walks of life about how they got started, where they draw their inspiration, and what keeps them going. 09. 99% Invisible Listen on iTunes Recommended episode: 296- Bijlmer (City of the Future, Part 1) Description: "Design is everywhere in our lives, perhaps most importantly in the places where we've just stopped noticing. 99% Invisible is a weekly exploration of the process and power of design and architecture." 99% Invisible is a fascinating look at how design and architecture has an impact on how we interact with our environment and the objects within our world. The host, award-winning producer Roman Mars, is a wonderful storyteller and creates a visual image in your brain like no other. This is an especially useful podcast if you're an environment or concept artist. 10. TECHnique Listen on iTunes Recommended episode: Episode 16 - Interactive Narratives Description: "TECHnique is a podcast where artists talk about how technology is affecting them and their practice. Sam Fry and Richard Adams speak to artists who tell their stories, explain their choices and the lessons that they have learned." Hosted by Samuel Fry and Richard Adams, the TECHnique podcast interviews artists about their use of technology and how it's impacting their work. They also discuss their creative process and the challenges they face in today's rapidly changing world of visual arts. Related articles: How to create an authentic manga comic strip Awaken Akira pays tribute to an animated classic 14 fantasy artists to follow on Instagram View the full article

Many artists dream of finding huge mainstream success while staying true to themselves and their influences. Comic book artist and designer Jamie Hewlett is one of the few to pull this off more than once, with his crisp, energetic artwork and drawing techniques shaping the look of counterculture for the last quarter of a century. Thanks to the success of his first major strip, Tank Girl, and his design work for virtual band Gorillaz, Jamie's style has become one of the most recognisable and admired among both fellow artists and the public alike. And while these both get the attention they deserve in this chaotic collection, publisher Taschen also sets aside a respectable number of pages to cover a diverse range of his other projects, some of which didn’t see the light of day. The result is a collection with a suitably grab bag feel about it. With much of Hewlett's work lost down the back of futons, stolen by editors or given to dealers, we're lucky to have what’s presented here. "The book might be terrible, but it doesn’t matter, it's just a book," jokes French fashion photographer Jean-Baptiste Mondino in the lighthearted introduction. "Life's more important, right?" Russel and Noodle of Gorillaz fame in their recording studio, accompanied by a couple of hangers-on. This doesn't mean we're left with a substandard look back at the first 25 years of Hewlett’s career. What we get is a book of art that encompasses his versatile talents. Split into 12 sections, this hardback takes a irreverent approach that makes the reader feel at home in Hewlett's anarchic worlds. Each chapter kicks off with a short overview of the project in question, whether it’s an exhibition of adult cinema-themed posters or pine tree illustrations, before presenting some of its choicest cuts. Readers can trace Hewlett's development as an artist if they want, but don't expect to learn too much about how he works. Instead, it's best to just sit back and let the book take you on a ride. Topping off the collection is a batch of sketches printed on transparent animation paper and a biography that hammers out the significant dates in Hewlett's career. His work has acted as a gateway drug to other artists for a reason, so give your eyes a treat and check out this retrospective while you wait to see what Jamie does next. This article was originally published in issue 158 of ImagineFX, the world's best-selling magazine for digital artists. Subscribe to ImagineFX here. Related articles: Enter mixed reality with new Gorillaz app The 27 greatest animated music videos 35 beautiful band logo designs to be inspired by View the full article