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There’s no shortage of inspiring women in extreme sports and adventure. So why is there a shortage of filmmakers sharing these inspiring stories on screen? That’s exactly the question posed by Shextreme Film Festival, the world’s first film festival celebrating women in extreme sports. Following last year’s sell-out success, the two-day event is set to return to Bristol, UK for a fourth year, taking over unique underground arts venue The Loco Klub from 4-5 October 2018. The best video editing laptops in 2018 Expect an action-packed programme of exclusive adventure film premieres, inspiring panel debates, live art, adventure poetry performances and more, as Shextreme continues its quest to promote equality in extreme sports and adventure. Confirmed festival speakers include Hazel Findlay, the first British woman to free climb El Capitan in Yosemite; environmentalist and five-times Irish National Champion pro surfer Dr Easkey Britton; mountaineer and NASA-trained astronaut Dr Suzie Imber; award-winning adventure filmmaker Paul Diffley; and prolific para climber Anoushe Husain. Film workshop The event starts on 4 October with Shextreme Film School, an evening workshop that will see expert tutors training the next generation of adventure filmmakers (that’s you). Suitable for all levels, students will learn every phase of production, from essential on-screen storytelling techniques to tips on choosing the best sound equipment to use on location. Learn from award-winning pros at Shextreme Film School 2018 “Our film school’s programme is designed to save you time and energy by helping you avoid classic rookie mistakes,” explains event founder Dr Ruth Farrar. “Multi award-winning adventure filmmaker Paul Diffley will be sharing exclusive behind-the-scenes insights on how he made his latest production featuring prolific climber Hazel Findlay.” “Siân Lewis, aka award-winning The Girl Outdoors, will also be sharing how to effectively work with brands to get your film production’s story published by the press,” she continues. “From surf film shoots in Brazil with BBC self-shooting producer and editor Elise Wicker to skateboarding photography in Cambodia with Hannah Bailey, we’ll cover a lot of ground over the course of the evening.” This year, Shextreme Film Festival will also expand its awards scheme to recognise the diverse, multi-talented creativity of women in adventure. Brand new categories include Best Adventure Blog and Best Non-Fiction Adventure Book, which sit alongside established categories such as Best Adventure Film, Best Adventure Photography and Best Adventure Podcast. Shextreme tickets Shextreme Film Festival tickets sold out quickly last year (we know, because we missed out) so if you’re in the area, you’ll need to move fast. You can book festival tickets here, and a place at the Shextreme Film School here. And for more information about Shextreme Film Festival, how to attend or how to get involved, head over to the Shextreme website – or follow the event on Facebook and Instagram. Related articles: 8 things you didn't know about design for film The best video editing laptops in 2018 The best video editing software View the full article

If you run your own website or are thinking about starting one up, you probably know that Wordpress powers a huge chunk of the Internet. That's why it's so important to learn how to navigate this platform. With The WordPress Essentials Lifetime Bundle, you'll receive 20-plus hours of video training that will teach you how to use this tool. You'll learn how to install, set up, and design your very own website from scratch, you'll discover how to write effective copy that pulls your readers in, and you'll even learn how to use digital marketing to boost your business or brand. Try out The WordPress Essentials Lifetime Bundle for only $19 – that's 97% off the regular price. Related articles: Top tips for building a WordPress theme 23 great examples of WordPress websites 6 top tips for CRO success in WordPress View the full article

Selections are one of the most vital tasks you'll learn to master in Photoshop CC. A good selection will give realism to an image, not to mention cleanness. But with so many selection tools at your disposal, which one should you use? In this Photoshop tutorial, we'll help you decide. Get more from custom Photoshop brushes The Lassos are a great place to start. Between them, they offer close control, precision, and even intuition. All three enable you to physically trace around the outside of your object with your cursor. The regular Lasso relies on you being able to draw around your object. Though it's a little rough, it's the quickest of the three tools, and providing you use the Refine Edge tool afterwards, it can produce a good, clear selection in just a few seconds. The Magnetic Lasso is similar, only you don't have to meticulously drag the cursor around your object, as the points 'stick' to the edge. The Polygonal Lasso is perhaps the most controlled of the three; instead of relying on dragging and pulling points, it involves a more pinpoint clicking technique. By using the Polygonal Lasso, you can click around the edge of your object and delete points as you go. There's a Lasso tool for any kind of project, and the best thing is that they're all easy to tidy up and refine after the selection is made. Mastering the art of cutting out objects will come in useful for many projects, so it's a good idea to play with the Lassos and find which one you like best. The regular Photoshop Lasso tool Draw around your edge freehand and touch it up after. 01. Draw your selection The regular Lasso needs a steady hand... Start by selecting the regular Lasso (L) and drawing around the outline of your object. Don't worry about trying to trace it exactly right, but make sure that you at least follow the basic outline of what you're trying to cut out. 02. Touch-up the selection ... but you can fix your mistakes later Once you've made your rough selection, it can be edited slightly. Check the options in the bottom bar of Elements; you'll find that you can add or subtract more pixels to your selection by again, drawing round the object. 03. Refine Edge Use the Refine Edge tools to get your selection exactly right Finally, click on the Refine Edge tool. Here you'll see all kinds of sliders to help you finesse your selection, including Smooth, Feather, Contrast and Shift Edge. Experiment with these, and remember that by brushing onto the picture itself, you can add/remove pixels to and from the selection. Photoshop's Magnetic Lasso Trust the intuition of Elements to know where the edge is. 01. Set the variables Set the options for the magnetic Lasso first, or just refine the edge later Select the Magnetic Lasso (L). In the bottom bar, you'll see options for Width, Contrast, Frequency and Feather. Alter these for the selection; if you're not sure, ignore them and just refine the edge later. 02. Make the selection Follow the edge of your selection and the magnetic Lasso will do its best to keep up Click at one end of the selection area. From there, simply trace your cursor around the outside of your object, and the Lasso will follow. Hit Backspace to undo the last point made in the selection. 03. Tidy it up Use the Marquee tool to fix huge chunks of bad selection Once you've traced the outline, double-click to finish. Often with the Magnetic Lasso, the end of the selection is messy. Use another Lasso, or the Marquee tool (M) to complete the selection if needed. Photoshop's Polygonal Lasso Click to create points around your object and then select. 01. Adjust the Feather setting Feather your selection for a softer edge A popular option to adjust before making any kind of selection in Elements is the Feather. This determines how many pixels of softness there is around your object. Set it higher for a softer, but less accurate, selection. 02. Trace the outline Selecting with the regular Lasso can be painstaking work, but more accurate Click to set a point on your image. Click along the outside of your object, making points at all the relevant corners. Again, press Backspace to delete the last point you've just made, and double-click to complete your selection. 03. Refine Edge Once again, refine the edge to get your selection ship-shape Finally, go through the process of using the Refine Edge dialog to improve your selection further. Experiment with the four main sliders to help soften the edges of the pixels and add or remove pixels to the selection. This article originally appeared in issue 152 of Photoshop Creative. Related articles: How to create stylised game artwork Create illustrated portraits from photos Make your own pop art portrait View the full article

Discover the skills behind the art of your favourite fantasy games and characters in the latest issue of ImagineFX magazine – on sale today. Inside issue 166, we talk to leading illustrators and artists from the biggest fantasy properties, so if you've ever wanted to get involved with creating out-of-this-world illustrations and concepts, you've come to the right place. Buy issue 166 of ImagineFX here In our cover feature, illustrator Tara Phillips guides you through her process of painting a captivating fantasy portrait in Photoshop. Elsewhere in issue 166, we learn how to create art for a gaming screen, complete with tips for adding those finishing magical details, while Philipp Scherer is on hand to show you how to design a post-apocalyptic environment. On top of this there's all the news, reviews and reader art you've come to expect fro ImagineFX – don't miss it! Never miss an issue: Subscribe to ImagineFX here Explore what's on offer by taking a peek at the lead features, below. Meet the new Magic: The Gathering artists The art of the new set goes back to basics The latest Magic: The Gathering Core Set is out now, with fans getting their teeth into new creatures and spells. We go behind the scenes and talk to the artists behind this latest set to hear how they created imagery that would appeal to players both old and new. Inside the Games Workshop studio We learn what it takes to work at Games Workshop Still going strong since it was established in 1975, Games Workshop continues to succeed due to the hard work of its talented artists. We talk to the creative brains behind the billion pound business to discover how they keep the game the table top game fresh. Painting a Total War: Warhammer concept Are you up to this mammoth undertaking? Looking to progress in the field of concept art? If so, you'll need to practice and study. We've got the studying part taken care of with this Photoshop workshop courtesy of Total War: Warhammer concept artist Rinehart Appiah, who shows you how to concept a deadly war beast. Create an oil paint look digitally Master this amazing paint technique in Corel Painter Fantasy role playing games were a constant source of fascination for Magdalena Proszowska thanks to their traditional acrylic illustrations. In her workshop she shows you how to emulate this look digitally in Corel Painter, and she uses plenty of fantastical creatures to guide you through the process. Hone your painting prowess Bring your paintings to life with these tips Renowned illustrator Tran Nguyen has been working as freelance artist for a decade now, and in that time she's honed and picked up lots of techniques that take her work to the next level. In this workshop she shares 15 ways you can improve your own art. Related articles: 10 sci-fi and fantasy art painting tips How to create a fantasy costume design 14 fantasy artists to follow on Instagram View the full article

You're reading What is a Design Audit and Why You Should Conduct One?, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! Design consistency heavily influences the customer experience. It ensures that your customers (and potential customers) receive the same message at any given touchpoint. It’s difficult to keep with, and it’s confusing to be receiving mixed signals from a company. Inconsistencies … View the full article

The DoJ said a DPRK spy, Park Jin-hyok, was involved in “a conspiracy to conduct multiple destructive cyberattacks around the world." View the full article

The PowerPool gang launched its attack just two days after the zero-day in the Windows Task Scheduler was disclosed. View the full article

2018 was the year that witnessed the Women’s March, Beyonce’s empowering set at Coachella and a defiant global female movement in the form of #MeToo. Coincidentally, it also marked the 100-year anniversary of the female right to vote in the UK. Following years of relentless campaigning, in 1918, eight and a half million British women finally secured the right to have their say. Sign up for the Computer Arts newsletter Compared to 1918, women are now a lot more free to express themselves and to live independent lives. We are the most powerful consumers on the planet, accounting for 85 per cent of all purchasing decisions. And yet the question remains: have we come as far as we would like to think? As an industry, is there more we can and should do to embrace equality? Referring to frying bacon in a perfume ad was a novel approach Sexual liberation and design The 1950s marked the golden age of booming consumerism and advertising that glorified the idealistic housewife. The 1950s female was the perfect companion: subordinate, grinning, and always willing. Her favoured products included Brillo Soap pads and Tide (“Tide’s got what women want!”). The 1960s saw the design of the first seatbelt, to male specifications. A design that means female drivers are 47 per cent more likely to be seriously injured in a car crash. Entering into the 1970s, we witnessed a change in tides for female liberation: feminism, greater sexual freedom, the start of the fight for equal pay. Enjoli launched the eight hour perfume for the 24-hour woman, who could “bring home the bacon, fry it up in a pan and never let you forget you’re a woman”. There was a slight shift towards both recognising and celebrating the multi-faceted roles of women. A gender-fluid world Maude's condoms are made with 100 per cent natural latex And as our world has shifted, so have our attitudes: 2018 marks a year where more young people are rejecting traditional gender labels, where gender can be defined in 71 different ways, where brands from Zara to Gucci have launched gender-neutral collections, to much acclaim. The focus has shifted from who you are designing for, to why. And many brands are excelling. Aesop creates beautiful skincare packaging, using dark bottles that focus only on what the product does for you. US-based Maude has redefined adult products, with organic, tasteful, genderless condom designs. For cosmetics, the shift is greater still. Once upon a time the realm of the female, beauty today sees no boundaries. ASOS’ Face & Body collection uses bold, vibrant packaging that can proudly sit on the dressing table of whoever wishes to use it. Launched in 2018, Canadian skincare brand, Non-gender Specific, offers only one product: the Everything Serum. The conditions for use? That you are human. The pink problem Bic for Her attracted much ridicule But, if we think back to the infamous 2012 launch of BIC for Her, when it comes to packaging equality we still have some way to go. Take a pen, one of the most generic genderless products. Add some glitter, pink, a “thin barrel to fit a women’s hand”, a handy ‘for her’ label, and hey presto – a pen for women. Cue hilarious reactions from women all over the world. With men predominantly at the global helm of design, the tendency to revert to the pretty and pink strategy remains rife (a privilege we pay, on average, seven per cent more for). Moving forward The Everything Serum is aimed at "all humans" Solving this disparity has to start from within our own industry. I am proud to be part of a creative team at Interbrand London where I myself am creative director, and am led by an intelligent, bold female executive creative director. But this seems to be the exception. Despite women accounting for 46 per cent of the advertising industry, just 11 per cent are creative directors. And we remain guilty when it comes to gender delegating. It’s a beer brand? Dave would be best on that one. Packaging for perfume? Lisa should lead that. Why? Because she will definitely understand the end-user better. It’s gender bias. Thankfully we are in 2018. Where the time is ripe for us to drive change. To assign people to projects, based solely on their expertise, interests and capability. After all, who says that a woman can’t design a male razor? (maybe razors don't need to be gendered at all?) That a man could not design the next innovation in sanitary care? I have a male designer in the team at Interbrand who has done just that. We know that the most effective innovations are those that are completely inclusive. One of my favourite projects to date was designing a range of motor oils, targeted at Russian alpha-males. Certainly not pretty or pink. If that isn’t proof that a woman can understand exactly what a man wants, then I’m not sure what is. So let’s rewrite the rules and design for the person, not the gender. And by 2118, raise that 11 per cent to 50 per cent. This article originally appeared in Computer Arts magazine. Buy issue 281 or subscribe here. Related articles: The problem with period product branding New BrewDog branding takes on sexism, fails 5 times brands shook up their logo to create a powerful message View the full article

So you’re thinking about buying a laptop from Walmart. Good move: not only is there a huge range of laptops on sale at Walmart, the retailer offers consistently low prices – and if you get your timing right, there are some fantastic bargains to be found, too. But which machine should you buy? That’s where we can help. We’ve searched the online store to find the biggest deals on Walmart laptops. Right now, we think the best laptop for sale at Walmart is the Microsoft Surface – but the right choice for you depends on what you want it for. The best laptops for graphic design The best video editing laptops What are good specs? If you work or play in the creative industry – in graphic design, video editing, photography, digital art and so on – there are certain specs to look for. You'll need the very best panels and a high colour accuracy for your screen. 1080p is the minimum resolution you should consider, but a 4K monitor is preferable. You'll also need plenty of power, because creative software such as Adobe's Creative Cloud suite can be fairly resource intensive. As far as minimum specifications go, we recommend a dual-core, 64-bit processor (or, if your budget can stretch to it, a quad-core processor). To perform complex creative tasks, RAM should be no less than 4GB – and ideally 8GB or 16GB. For most day-to-day tasks, you won't need to buy a Walmart laptop with a discrete graphics card – but for graphic-intensive creative work you’ll need one. An MX150 graphics card will give you some decent graphics performance without costing a fortune. For more demanding graphic work, look into Nvidia GTX 1050 Ti, 1060 and 1070 graphics. If you want very powerful graphics and play a lot of games as well, then an Nvidia GTX 1080 graphics card is worth considering - but it will be expensive. Finally, for storage space, don't go any lower than 120GB because you’ll need enough to install an OS like Windows 10, and to store your files and apps. Read on for our pick of the best laptops on sale at Walmart. The best Walmart laptops right now The Surface Laptop is a gorgeously designed notebook from Microsoft, and features a beautiful 13.5-inch, 3:2 PixelSense display that makes it a brilliant laptop for creative purposes. Thanks to its competitive price, we think this is the best overall laptop on sale at Walmart for creatives and designers. It has a thin and light design that makes it easy to carry around, and the body is partially made from Italian imported Alcantara fabric material that decorates the keyboard, making it a stylish laptop that's powerful enough to handle creative tasks. The Dell XPS 15 is a brilliant laptop it its own right, but it really excels when it comes to creative work, making it one of the best laptops on sale at Walmart for creatives. It comes with a brilliant 15-inch InfinityEdge screen, and the very top-end version has a 4K colour-accurate display that makes it perfect for creative work. It also boasts plenty of processing power as well, making it a dab hand at rendering large files. It is pricey, however, but if you have a bit of a bigger budget, then this is definitely a laptop worth considering. Apple's MacBook laptops are well known for being brilliant machines for creatives, but they can also be quite expensive. Last year's MacBook is still a brilliant machine, and Walmart has it on offer for a very compelling price. Its 12-inch screen and thin design make it easy to carry around, so it's a great laptop for working on the go. It's also powerful enough to run intensive programs, and its USB-C port means it's future-proof as well. HP has a great reputation for designing attractive laptops that also feature powerful components, and the HP Spectre x360 is a brilliant example. It has thin bezels that keep the body size down, without compromising on screen size, and its light weight makes it comfortable to use when in tablet mode. This is a great HP laptop on sale at Walmart if you're looking for a stylish device that can act as both a laptop and a tablet. The Dell XPS 13 is one of the best laptops ever made, and the 2018 edition combines the brilliant design with improved components, making it a powerful and desirable notebook. It has a stunning 4K screen with a bezel-less ‘Infinity Edge’, and comes in a new Rose Gold on Alpine White color option. What’s more, there’s a wide range of customization options, so you can really make the Dell XPS 13 the best laptop for your needs. The Lenovo Flex 6 14 is one of the best value laptops Walmart offers for creatives and designers. For less than $1,000 you’re getting specs that will get you through most everyday workloads easily – and in a chassis that doesn’t just look great, is rigid as well. It even supports the Lenovo Active Pen, though it’s not included. It's not the most feature-rich of the Walmart laptops we've got in this list, but it offers fantastic value for money. The Asus ZenBook Flip S UX370 is one of the best 2-in-1 laptops around, and Walmart is offering it for a great price. It comes with a new Intel Kaby Lake R 8th-generation processor powering the device, plenty of RAM and a super-fast PCIe SSD in certain models – this is an absolutely stunning laptop. Its 2-in-1 design means you can use it as both a laptop and a tablet. This makes it a supremely versatile model that's ideal for creatives, and easily the best Asus laptop on sale at Walmart. Related articles: The best tablets at Walmart The best tablets for kids at Walmart The best drawing tablets at Walmart View the full article

The update includes nine security patches overall. View the full article

Earlier this year Logitech launched its digital pencil tailored to the 9.7-inch iPad, the Logitech Crayon, exclusively to schools. But now, it's not just kids who get to enjoy nice things, as the Crayon will be available for everyone from 12 September. The best iPad stylus in 2018: top iPad styluses for drawing and note-taking Costing $69.99/£64.99, the Crayon will be available for designers to order from Apple stores. While this is $20 more than students could pick up the stylus through Apple's educational portal, it's great that everyone now has access to this precise and durable digital design tool. Although it does not support pressure sensitivity, the Logitech Crayon is 'smart tip' enabled, meaning that a user can switch from a thick line to a thin line simply by tilting the stylus, just like you would with a regular pencil. There's also no need to worry about confusing your iPad thanks to a palm-rejection feature that allows you to rest a hand on the screen while you work. And with a single charge giving the Crayon seven hours of life, you can knuckle down to big projects without having to worry that it's going to die on you. The Logitech Crayon enables users to express themselves easily Designed with comfort and durability in mind, the Logitech Crayon can connect to iPads instantly without the need to pair. "Logitech Crayon works seamlessly with iPad and the most popular creativity and productivity apps from the App Store," says Michele Hermann, vice president of mobility at Logitech. "So whether you are learning to write a new language, jotting down notes, marking up a screenshot or PDF, or visualising an idea, Crayon is the perfect tool for the task." Related articles: The best tablets with a stylus for drawing and note-taking 10 top new tools for traditional artists this May The best cheap Wacom tablet deals in 2018 View the full article

Bluetooth speakers are one of 2018's must-have gadgets. And with such a broad range of uses, from annoying people on public transport, to delivering high-def audio in design studios, the sheer breadth of options makes the task of choosing the best Bluetooth speaker a difficult one. The best wireless headphones in 2018 Ultimately, though, it’s all about how a speaker sounds. And whether you’re looking for a Bluetooth speaker for your home, studio, or something super-portable, we’ve got you covered. Which Bluetooth speakers should you buy? Choosing the best Bluetooth speaker isn’t just about the quality of the device – it’s also about the technology it’s using to pair to your audio source. All versions of Bluetooth are not created equal, and when it comes to specs, there can often be information that, if overlooked, can come back to bite you on the butt. But other factors are important, too. How durable is the speaker? What is the battery life? How much does it weigh? And, ultimately, how does it sound? When it comes to range, most of these speakers will reach around 30m, but will depend on other factors such as interference; so consider how it’s going to be used. Which are the best Bluetooth speakers? Right now, the best Bluetooth speaker that combines audio quality, durability, and battery-life is the UE Boom 2. Its styling is idiosyncratic, and won’t suit everyone, but it’s loaded with features, and provides fantastic audio for the price. In this post we’ve pulled together a selection of the best Bluetooth speakers, for a number of different scenarios, and pored over the specs to provide you with the most relevant information. The best Bluetooth speakers right now The best Bluetooth speaker overall: The UE Boom 2 builds on the success of its predecessor, with increased durability and some styling improvements – but it’s ultimately the same speaker that bagged a hatful of awards in its first iteration. Possibly the biggest improvement with the UE Boom 2, though, is the increased IPX rating (from 4 to 7), which means it can now be submerged for up to 30 minutes, and still keep on rocking. And through a companion app (for iOs and Android), you can also customise buttons, and even connect multiple speakers together via its ‘DJ’ feature, where other Boom 2 owners can add their own music to a group of connected Booms (but don’t worry; if you don’t like what you’re hearing, you can always boot them from your speaker party). The UE Boom app also enables you to adjust audio settings, such as bass and treble, which really helps when dealing with bass-heavy music. The audio performance of the UE Boom 2 hasn’t just been improved via its software, though, and also features upgraded 1.75in active drivers, as well as 3in passive radiators. Lastly, but by no means least, let’s look at the design. In most cases, this is the thing that first attracts people to the UE Boom 2. It’s colourful (with numerous choices), a little eccentric, and a welcome change to the homogenous aesthetic of most speakers. But, having said this, some may find the design a little too garish for their tastes. The best high-end Bluetooth speakers: We have a little confession to make: we have a serious soft-spot for the design of the Dali Katch. From its slim aluminium housing, to its leather carry handle, this is a speaker that oozes specs appeal. On its own, this wouldn’t be enough for inclusion, but it also sounds incredible (which for its slim design, is a serious feat of engineering). Coming with two 21mm soft dome tweeters, two dual 3.5-inch woofers, and two passive bass radiators, this speaker packs a serious punch. But when things get bass-heavy, you’ll still be able to detect the mid-range—and this thing can go seriously loud, too! You can’t edit the equaliser settings with the Katch, but it does have two pre-sets: Clear and Warm (for bass-heavy audio). And between them, they’ll cover most tastes. Lastly, if you are pairing with a device that supports aptX, then you have the added bonus of being able to play high-definition audio through the Katch, which takes it to another level of audio performance. The best Bluetooth speakers for home and studio: This is a category with two big hitters: the Zeppelin Wireless from Bowers & Wilkins, and the Naim Mu-so. For cost and performance alone, we’d recommend the Zeppelin, and you can get more details in our best wireless speakers for 2018’ post. But if cost is no issue, then the Naim Mu-so tops our list. Make no mistake, though: weighing in at 14.8kg, this isn’t a Bluetooth speaker that you’ll be slinging into your backpack anytime soon (not unless you’re in training for an endurance competition). Building on Naim’s high-end audio heritage, there’s little to give away the Mu-so’s digital make-up. An aluminium body encases an MDF cabinet, which, as well as providing audio dampening, also adds some serious weight to the unit. Elsewhere, recessed LEDs provide a visual cue when connecting, but sit behind the front grille, for a truly minimalist look. And the last design element of note is the main volume control, which will appeal to nob lovers everywhere (comprised of a solid ring of bead-blasted anodised aluminium). Sound wise, the Mu-so’s power is something to behold, with six 75 watt amplifiers delivering a total of 450 watts (all controlled by a 32-bit digital signal processor, which Naim claims is capable of “millions of calculations per second”). And listening to music on the Mu-so, we believe them–it’s as close to audio perfection as you’ll get with a Bluetooth speaker (and comes with full support for AptX, too). The best outdoor Bluetooth speakers: For this category, we’re going to make a few assumptions. The first is that – if you’re looking for an outdoor speaker – there’s a good chance you don’t want to spend a huge amount of money on it (because it will undoubtably be put through the wringer). Secondly, we’re going to assume that you want it to be fully-waterproof, because ‘outdoors’ often equates to ‘raining cats and dogs’. With these factors in mind, the selection is seriously narrowed down, and this category is a toss-up between the JBL Charge 3 and the UE Wonderboom; but for its sheer cuteness and competitive price, we’ve opted for the latter. You can’t talk about the UE Wonderboom without mentioning its looks (as we already have). Its stubby design is akin to someone over-pouring a bucketload of awesome into a drinks can, and then wrapping the whole thing in a mesh fabric, before finally topping and tailing it with a rubberised membrane. The design of the Wonderboom means that you get full-360 degree audio, and thanks to its IPX7 waterproof rating it also means you can play catch with this thing in a swimming pool! It really is that durable. On top of the speaker you’ll find buttons for power, pairing and playback, and you can even connect two devices simultaneously, for easy audio switching. And whilst the UE Wonderboom sounds great, it doesn’t have the high-end bass support of the JBL Charge 3, but it handles mid-ranges brilliantly, and given that it’s almost £100 cheaper, we’re happy to make the sacrifice on top-end bass. The best Bluetooth speakers for iPhone: You’ll be able to connect all of the Bluetooth speakers featured in this list via your iPhone. But, for this inclusion, we’ve tried to find a speaker that matches both the design and audio expectations of iPhone users, which is why we’ve turned to the Bose SoundLink Mini II. Styling-wise, it has a lot in common with the Jam Heavy Metal, including a hefty weight of 670g. It features a curved aluminium body, with grilles on the front and back of the device. And, like the Heavy Metal, it also handles bass extremely well (better than the Heavy Metal, in fact, which is no small feat). Standard control buttons sit on top of the device, and in its second iteration the Soundlink Mini II ditches the dedicated Aux button in favour of auto-switching when a new device is plugged in. This is a nice addition. The only downside to the Mini II is that, for the price, we’d expect support for aptX, which has been omitted. However, despite this small gripe, if you’re looking for a speaker that’s a step up from the competition, and will sit happily next to you iPhone, this is it. Read more: 5 of the best TV series on Amazon Prime How to remove a background in Photoshop 5 timeless illustration styles (and what to use them for) View the full article

We all know the unspoken rule is you shouldn’t judge a book by its cover. Indeed, in terms of design thinking, there’s a hell of a lot more to creating a beautiful, legible book than what’s on the outside. The principles of layout, type selection and use of imagery are complex; the role of a book designer holds much more than meets the casual reader’s eye. As with any creative project, there are no hard and fast rules for designing a book, but there are a few basic principles that designers adhere to. Again though, such rules are often there to be broken: legibility seems like an obvious one, but with more conceptual art books, for instance, sometimes you can get away with type and layout that challenge the reader to look as much as to read; images can be layered and morphed and chopped and screwed around with; stories can be told in traditional, linear formats, or as post-modern, nonlinear modes of expression. Sometimes a relevant solution can also be something that doesn’t suit the content Sara De Bondt The basic tenet is design should adhere to what’s being designed, format should work with content, and design shouldn’t (most of the time) overshadow what the book is conveying to its readers. Naturally, a shiny, seductive cover just isn’t enough. Erik Spiekermann once said that a book with a great cover and shoddily designed interior is “like great packaging, but when you open it, the food inside looks brown and boring. It may still be nourishing, but my appetite is gone.” So how does good book design keep us hungry, and ultimately satiate us? The book design process Once a designer has been commissioned to design a book, they’re usually briefed on the concept, and given some placeholder content to play around with. After that, it’s often a period of heavy research into the book’s themes and topics. Then it’s on to some experimenting with rough ideas of layout, playing around with typefaces, possible colour combinations, and the image selection. Along the entire process, a good designer will also be considering the mechanics of the production: how it will be bound, the paper, cover stocks, and so on. Sign up to the Computer Arts newsletter “I start by listening to the people involved: the authors, editors, artists, etc,” says designer Sara De Bondt. “Then I try to find out more about the subject, and find relevant design solutions that suit the content of the book. Sometimes a relevant solution can also be something that doesn’t suit the content, but that contrasts it.” While as a designer you aren’t always in a position to pick and choose the projects you take on, the vast majority agree that an interest in the subject matter – or at least, working to find something in it that piques your interest – is pretty important. Sara De Bondt’s designs for Tree of Codes, a book by Jonathan Safran Foer in which each page is precisely die cut to show only a few words “The better you understand the content, both text and images, the better you can deal with it in terms of positioning and sizing as well as coming up with hierarchies,” reveals graphic designer and art director Maximilian Mauracher. “Of course it’s possible to make a nice book layout by having a grid first and then just strictly laying out the content according to it, but I think it’s only going to be outstanding if you adapt typography, colours and the page layout to the content.” Book covers usually go through a series of meetings with the editor, the sales and marketing teams, the designers and eventually the author before being approved. “As a designer, hearing so many opinions can be a bit daunting, but I often find it opens me up to pathways I might not have considered,” says Henry Petrides, designer at Cornerstone, part of Penguin Random House. “The whole process usually lasts a few weeks; sometimes shorter, and sometimes longer,” adds Emma Grey Gelder, senior designer at the publisher. Typography in book design Great book design is only as good as its typography. In very basic terms, it makes sense that fonts should be unobtrusive, in as much as the reader doesn’t ‘notice’ the font, simply the words. It’s often said that monospaced typewriter fonts such as Courier are to be avoided in body copy, as the uniform spacing gives too much standout to individual letters. The debate is still very much raging as to whether serif or sans serif fonts are the most legible, or most suited to body copy: and after decades of research and bickering over the matter, we’re still far from a conclusion. So really, do what you feel in that sense: legibility wise, there’s not much in it. Petrides and Grey Gelder agree that while there are fonts designers fall back on, it’s more interesting to use less known typefaces, and introduce handwritten elements where appropriate. “I work on women’s fiction titles and I find that hand calligraphy works well on these kind of covers, and often feels more organic with the illustration used,” says Grey Gelder. “It’s really enjoyable to commission hand lettering artists to create a signature look for a cover.” Less is often more when it comes to typography, explains Maximilian Mauracher Mauracher takes a strongly typographic approach to his designs for books, mainly in the cultural field, and advises that type-wise, “less is more.” He explains: “It’s all about readability – that’s what most books are for, to be read – and the mood I want to create or feelings I want to evoke when reading or looking at it. "Of course I have some favourite fonts, but I usually vary them and see what matches the content best. As soon as I choose one or two typefaces I have a look at the hierarchies – headlines, sub-lines, body text and pagination.” Book design is all about rhythm and pacing Sara De Bondt It all comes back to there being certain rules – those dictated by content, and a somewhat intangible sense of what feels and looks right – and then letting each project dictate how such rules are executed. “Book design is all about rhythm and pacing,” advises De Bondt, and points out that the typography is only as good as the production. “You might design the most beautiful layouts on screen, but if you haven’t fully considered the binding or grain direction of the final thing, your book will end up looking like a hostile brick that doesn’t open.” Layout in book design Layout is made up of a careful selection of decisions regarding page size, font styles and combinations, line spacing, margin size, and which images are used. The vast majority of designs will adhere to a grid system, which at their most basic can be broken down into four categories: 1. Manuscript grid – a rectangular space made up of large text blocks and margins, often used for large blocks of text such as essays. 2. Column grid – helpful for presenting text that isn’t necessarily continual, perhaps with various boxouts, images, and captions. 3. Modular grid – prizing order and clarity to organise a series of complex information and images, as popularised by the Swiss International Style and Bauhaus School. 4. Hierarchical grids – more often used online than in print, where the column widths differ, and the designer needs to unify a number of disparate elements. Considerations around layout come down to vertical (typographical hierarchies) and horizontal (double-spread design and sequencing). Mauracher likes to create new layout designs for every book “I prefer reducing the typographical image to its core essence and try to establish clarity for the reading,” says Hanover-based designer and art director Yevgeniy Anfalov. “Sometimes the structure is more complex and requires more hierarchies. At this point, I need a good grid to use the surface in a rational and flexible way. The sequencing has a cinematic nature. It is less about graphic design, but narration.” Swedish designer Marcus Gärde has created an online grid calculation tutorial for figuring out the basics in any book design project. It’s based on a ratio method that works with all paper formats, and “always results in both horizontal and vertical lines fitting perfectly within the area,” according to Anfalov. Again, the right layout is only correct for the book it’s meant for. “In the end it always depends on the content and the book format,” Mauracher says. “That’s why I never reuse a grid or a page layout for another book. I want to create something new every time.” Sara De Bondt’s design for a book about sculptor Franz Erhard Walther, which accentuates the possibilities of tactility Anfalov agrees that ‘golden rules’ are inherently fluid. “It’s good to learn different approaches in layout composition and to always extend that knowledge,” he says. “I don’t believe in the power of dogmas. Approaching new projects, I often think: ‘Should I have a grid? Or is there no grid at all? How can I design something without sticking too mechanically to the rules?’ But it’s really up to the project’s nature. The content gives me clues on how I should proceed.” De Bondt has an “internal unspoken rule” when it comes to the process of designing layouts, “which is to try not to be too wasteful – the environment is already suffering so much.” Where possible, she tries to use standard book sizes to avoid paper wastage, and steers clear of laminating. “Unfortunately a lot of books get shrink wrapped in plastic, I hope someone will invent a more ecological solution for that soon,” she says. Printing a book Once you’ve slaved over a book project for weeks, months or even years, it would seem frankly daft to relinquish control once it all goes to print. As such, most designers work very closely with the printers themselves, building up relationships over many years and meeting to discuss the process way before the printing wheels start turning. It’s only by working closely with printers and really understanding how they work that you can push the limits of the books you’re making, and deliver something truly unique. De Bondt emphatically states that it’s “incredibly important” to work closely with the printer. “Printers often have good ideas,” she says. “Sometimes I ask them to help find a paper, or we try to find solutions together when we hit a problem. I really like going to printers’ offices to see other things they’ve made and learn about techniques I wasn’t aware of. Print technology is moving all the time.” Studio Yukiko created Home, a book of photographs by Matt Lambert and the first publication from gay dating app Grindr Berlin’s Studio Yukiko art directed the first publishing venture from gay dating app Grindr – Home. Formed of a collection of photographs by artist Matt Lambert, it explores intimacy and LGBTQ stories. The book is characterised by bold and complex printing flourishes, including black passe–partout frames, spot varnishes, a special cold foil production technique, and use of shiny, near invisible text. The production wasn’t without its challenges: they couldn’t get the cold foil to stick to the original choice of paper; and the varnish machine even caught fire. The result was worth it, and a testament to the drive and vision the studio has become known for. “We’re so grateful to have a really good relationship with our printer, and every time we come up with an idea we discuss it and see what’s actually possible,” says Studio Yukiko co-founder Johannes Conrad. “So we’re not trying to come up with ridiculous things that aren’t doable... We’re always in very close communication.” The ultimate project for him is when it becomes “more than just designing, but creating something that hasn’t been done before.” A book is an object It’s worth remembering in a design process so largely screen-based, that a book is a tactile thing to be held, touched and pored over in a very physical way, so its manifestation as an object should always be front of mind for designers. One of the most important decisions – and one that’s as much dependent on budget and printers’ limitations as imagination – is materials. Book designer Emily Benton recommends building up a paper library of swatch books and samples, containing everything from standard uncoated and coated stocks to coloured, transparent, mirrored and textured substrates. Other samples might include grey board, marble papers, head and tail bands, and ribbons. After a few years I realised how misleading the layout on the screen can be Yevgeniy Anfalov The vital element of tactility in books means it’s perhaps little surprise that many book designers featured here espouse the importance of looking away from the computer as part of the book design process. Anfalov sometimes takes images, cuts them out by hand in various sizes, and moves them around. “After a few years I realised how misleading the layout on the screen can be, if it happens without proper paper proofing,” he explains. “Scissors, glue, and handcraft tests became essential.” Mauracher draws on a wide range of visual references when it comes to his book designs “I learn a lot from the mid-century magazines, where the editing is sharp, generous, reductionist,” he adds. “The page is never alone, but is a part of the whole. Images on the double spread interact with each other. The way they are set is the means to establish the rhythm and dramaturgy.” Mauracher agrees, and advocates the importance of looking outside of the obvious touchpoints for ideas: “Of course I get inspired by other books, but they’re mostly not about book design. I read a lot and I think that’s important, to see what works and what doesn’t.” As Petrides states, the best book designs come from being relentlessly curious: explore film, fashion, art, music and illustration “away from a phone screen,” he says. “The more you see, the more you’re building a bank of references to pull from as a designer.” This article originally appeared in Computer Arts, the world's leading graphic design magazine. Buy issue 281 or subscribe here. Related articles 8 great examples of geometric art in book design How to design a book in InDesign How to design a contemporary book cover View the full article

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If you're planning to launch a design career, Adobe Creative Cloud is probably the best skill set to have in your arsenal. Pay What You Want: Adobe CC A-Z Lifetime Bundle will cover all the software in this collection, with 100 hours of content. You'll find out how to edit professional looking videos with Premiere, you'll learn the tricks to making photos look like they're straight from a magazine, and you'll discover how to make graphics, newsletters, and more with InDesign. Don't wait to launch your design career – pay whatever amount you want for Adobe CC A-Z Lifetime Bundle. You'll get a great design education for a fraction of what you'd pay for a college course. Related articles: Adobe adds 665 fonts to Creative Cloud How to use Adobe Capture CC Adobe and Erik Spiekermann revive lost type sets View the full article

This issue, along with our usual reviews, inspiration and regular Q and A sections, we review Maxon's Cinema 4D R20, look hard at ZBrush and some of its uses in TV and film, as well as bringing you a host of expert tips to help you be a better sculptor. Buy 3D World issue 239 now Here's more detail on what you can find inside... Feature: ZBrush at the movies Discover how ZBrush has been used on the big screen We take a look at some of the fantastic work being done by the ZBrush community, for use in TV and movies. The popular sculpting application isn't just about creating toys and game art, so we delve deeper. Feature: MPC creature creations Find out how MPC makes its animals In this feature, Ian Failes talks to MPC to see how the team go about creating their incredible creatures. Training: ZBRush expert tips Our panel of experts share their secrets Our panel of top ZBrush expert artists and industry veterans share some of their secrets to help you become a better ZBrush artist. Training: Ziva Create a muscular bull with Ziva Learn how to use the physics of Ziva to create a realistic bull model. Training: Master your ZBrush workflow Get to grips with a smart workflow 3D World regular and expert ZBrush artist Maya Jermy shows you how to work smarter in ZBrush to keep you efficient and creative. Training: Q and A Your questions answered This issue our panel includes Ant Ward, Oscar Juarez, Maya Jermy and more, who all answer your questions, helping you solve specific problems you face with your 3D work. Read more: How to model concept art in C4D Top 40 free textures to download today 6 expert tips for better renders View the full article

Danish brewery Carlsberg has today unveiled a major global rebrand, courtesy of Bristol-based Taxi Studio. Following extensive research into the brand's 171-year heritage, the brand's core elements – logo, hop leaf, crown, brand typeface and signature of Carlsberg founder JC Jacobsen – have been carefully re-crafted for the first time in several years. 5 brands so strong they don't need a logo Keen to stay true to the brewery's rich heritage, the team at Taxi bucked industry design trends, focusing their efforts instead on the longevity of the brand. Spencer Buck, creative partner at Taxi Studio, says: "The new design system is very much anti-trend. It's designed to be permanent, or more permanent than any iteration of the design system has been before. There shouldn't be any need to change this for a good long time. That's part of the sustainable thinking that was built into the very core of the brief." Carlsberg's infamous hop leaf is one of many elements to undergo an update Constant pursuit of better At the heart of the Carlsberg brand is founder Jacobsen's so-called 'Golden Words' from his will: "In working the brewery we should be in constant pursuit of better beer so that the brewery may always set standards and assist in keeping beer brewing at a high and honourable level". And it's these Golden Words and "constant pursuit of better" that became the driving force behind the rebrand; a simple yet versatile identity system that now works effectively across all branding elements. Carlsberg's core elements have been carefully re-crafted to work across all branding elements Jessica Felby, design director on the project for Carlsberg, says: "Designs used to last 10 years, then five, now brands redesign every three years. It's all based on trends that go out of style. We weren't going to do that." "It's only when you see the previous design that you realise that the new design is new, because it looks like a design that's always been there. It looks like what Carlsberg should always have been." The rejuvenated Carlsberg brand is launching in Scandinavian markets this month and will be rolled out globally over the course of 2019. Read more: Logo design: everything you need to know 11 of the best free business card templates New tool turns Google into a colour-picker View the full article

The official release of the version includes 40 fixes, seven of which are rated "High." View the full article

A Monero cryptomining script is spreading in an ongoing campaign using the recently disclosed critical remote command-execution flaw. View the full article

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Looking for a great camera that does all the hard work for you? You can point and shoot with many cameras, but if you don’t want to intervene while taking your photo too much, you’ll find that some models are better suited than others. Of course, the best point-and-shoot camera for you depends on your expectations and your budget. As a general rule, cameras with 1in, APS-C and full-frame sensors will perform to a better standard than others, as will those with fixed-focal-length lenses rather than zooms – but this will be reflected in their price. The best photo apps and photo editing software You should also look out for cameras with tilting LCD screens if you want to get creative, as well as viewfinders if you tend to shoot outdoors with any frequency. A long zoom is great for holidays and travelling. However, this feature tends to be accompanied by a narrower maximum aperture range – which can make the camera harder to use in low light and when looking to create shallow depth of field. Here are the best point-and-shoot cameras right now – whatever your budget. Sony has wisely chosen not to discontinue any of its six RX100 cameras since each camera’s respective launch, which means there’s a strong possibility one will suit your specific budget. While the company’s most recent two models still have an asking price that sails close to their RRPs, the RX100 Mark IV continues to hit the sweet spot between features, performance, size and price. An idea all-rounder for the more discerning user, on top of a 20.1MP 1in sensor and a ZEISS Vario-Sonnar T* 24-70mm f/1.8-2.8 optic, the camera has a high-quality pop-up viewfinder, together with a tilting LCD screen that goes all the way around to face to front, and even 16fps burst shooting for critical captures. 4K video and HD recording to a staggering 960fps for slow-motion output are also on hand (making this our pick of the best point-and-shoot cameras for film, too) as is Wi-Fi and NFC for simple cable-free communication between the camera and smart device. It’s not the cheapest point-and-shoot camera, but you get a solid performer for the money, whatever it is you want to shoot. While you can certainly find slimmer and cheaper cameras that would suffice for simple point-and-shoot operation, it’s difficult to find something that will compete with the Panasonic TZ70 (also known as the Panasonic ZS50). For overall specs and performance, this is the best point-and-shoot camera under £200/$300 you can get. Even if we ignore the camera’s main draw of a lens equivalent to 24-720mm in 35mm terms, we see that it’s eminently capable: 10fps burst shooting makes it great for sports, while the electronic viewfinder – rare at this price point – makes it far better suited to use in either very bright or low lighting. A fine choice for those off on holiday and needing a strong zoom, but with a spec sheet that makes it great elsewhere. Leica’s excellent M-series rangefinders are probably the last kind of camera that would make this list, but the firm’s Q (Typ 116) model is a different beast. It blends classic good looks with modern trappings, from autofocus and built-in Wi-Fi through to a 3in touchscreen and a superb 3.68million-dot electronic viewfinder. The 24MP full-frame sensor allows it to easily capture better images than most other compacts, although the fixed-focal length 28mm f/1.7 lens in front of it – while optically excellent – may prove limiting for those who may need a zoom. This is a no-compromise point-and-shoot camera that produces exquisite stills, but it’s asking price very much reflects this – definitely one for the purist. With the excellent P340, P7800 and COOLPIX A no longer in production, Nikon’s most capable compact camera that isn’t styled like a DSLR is arguably the Coolpix A900. Despite its compact proportions, the body conceals a wealth of fancy tricks, from a 35x optical zoom that travels between 24-840mm (equiv.) focal lengths through to 4K video recording and even a 1cm macro shooting option. Ideal for the travelling photographer that doesn’t want the bulk of a mirrorless camera or DSLR, the A900 is also furnished with a tilting LCD screen for framing image and videos from more awkward positions. If you like what you see here but your budget doesn’t quite stretch this far, we'd recommend the Panasonic TZ70 / ZS50 (option 2). Picture, for a minute, a compact camera that features a 42MP full-frame sensor from an acclaimed mirrorless model that’s relied upon by the pros, together with a 399-point phase-detect AF system, a wide-aperture ZEISS-branded lens, a gorgeous electronic viewfinder and a tilting LCD screen, all inside a body that will just about sit in the palm of your hand. That’s precisely what the Sony RX1R II offers, a camera that’s perhaps most at home outside of the home, right on the street where its 35mm lens and f/2 aperture will help the documentary photographer capture images of a exemplary standard. On the downside, the camera’s battery life is nothing special, and the lack of 4K video means it’s looking a little dated already. Still, if the Leica Q Typ 116 (option 3) is a little outside of your price range and APS-C just won’t do, this resolution monster is a clear winner. While Canon carries more advanced models in its PowerShot compact lineup than the G7 X Mark II, this do-it-all compact has the best balance of portability, image quality and usability. A great all-in-one walkaround camera for those wanting malleable Raw files or print-ready JPEGs alike, the substantial grip makes it far nicer to handle than Sony’s RX100-series models, while a lens control ring, a tilting LCD with great touch-sensitivity, built-in ND filter and Raw shooting with in-camera processing make it as capable in operation as it is in the quality of its output, though for a camera of its size, it’s a pity that Canon hasn’t found space for an electronic viewfinder. The camera’s PowerShot G9 X Mark II stablemate is also worth a look if you like the basic idea of the G7X Mark II, but want something slightly slimmer – although its lens isn’t as wide nor as long, and its screen is fixed in place. With only a handful of compacts in Fujifilm’s stable these days, and the the XF10 still too new for review samples to be available at the time of writing, it’s the well established, very respected Fujifilm X100F that makes the cut. While pricier than the XF10, it’s hard to fault: a respected 24MP X-Trans CMOS sensor, a sharp, wide-aperture lens equivalent to 35mm, and a clever hybrid optical/electronic viewfinder are just the main highlights from a glittering spec sheet. Whether you’re shooting Raw or JPEGs, the results are filled with detail, while a collection of Film Simulation modes give you the option to treat images at once with a range of effects reminiscent of the company’s popular film emulsions. If you need 4K video then it’s probably best to hang on for the XF10, or look towards the company’s X-T20 or X-T2 mirrorless bodies, but for everything else the X100F is golden – particular for street and documentary work. As respected as Sony’s RX100 line is, the premium attached for these models doesn’t always make them the best value for money next to rival options. Step forward Panasonic, whose knack for delivering competitive specs at even more competitive prices is exemplified best in the LX15/LX10. Right now, in the UK, you can get a staggering £150 off its asking price through a cash back and bonus, which places it at the same price point as cameras with far less impressive spec sheets. It’s the 20MP 1in sensor and 24-72mm (equiv.) f1.4-2.8 lens that are this point-and-shoot's biggest draws, although the further availability of 4K video recording, a 3in tilting touchscreen and wireless connectivity make it an even sweeter proposition. The only major drawback is the lack of a viewfinder, but if you can live without that you’ll find the LX15 to be a great option for anyone who requires quality results without manual intervention. This smart option in Canon’s ever-handsome IXUS line is the cheapest option on this list – but the Canon IXUS 285HS still packs everything you need for total wireless control. Thanks to Wi-Fi with Dynamic NFC, you can instantly connect the camera to your smart device with just a single tap and even back-up images to the cloud automatically. Not only that, but you can leave the camera in one place and control it remotely using the dedicated app – great for group shots or tripod-based captures in general. There’s a Wi-Fi button nestled between the menu button and LCD screen on the rear, and this brings up all the options you need for cable-free control. Its price, large buttons and simplicity makes this point-and-shoot great for beginners, with a raft of colour options to keep things interesting. Sony’s sixth RX100 model, the RX100 VI, took a slight departure from the template set out by its forebears in that it swapped the 24-70mm-equivalent focal range we’d been used to since the RX100 Mark III for a 24-200mm alternative, while keeping the shell as svelte as before. 4K video, slow-motion recording to 960fps and 24fps burst shooting with both autofocus and auto-exposure are also highlights, but its the clever mechanism of the pop-up 2.36million-dot EVF that makes it a winner: no longer do you need to draw it back once it springs up, it all happens in one action. This makes it great for shooting with the EVF on the fly, with this point-and-shoot camera as a whole best suited for holidays and travelling photographers that need a maximum zoom in the smallest package possible. The RX100 Mark IV (option 1) sticks to a similar idea for those with a little less to spend, but sadly without quite the same viewfinder mechanism. Related articles: The best camera for photography The best photo apps and photo editing software 15 ways to improve your photography skills View the full article

If you've ever felt that there simply aren't enough ways to spend your money on the internet, we have some great news for you: Instagram is reported to be developing its own shopping app. Instagram takes on YouTube with new video channel According to The Verge, this new app, possibly called IG Shopping, will enable you to check out collections of goods from merchants you follow on Instagram and then buy them within the app. Instagram has been flirting with ecommerce for a while now; it started trialling shopping services in 2016 and rolled them out more widely in 2017; companies can tag up to five products per image and add product details and pricing, so that customers can get information and then make a purchase through the companies' own mobile sites. And then this year Instagram announced that it was testing shopping within Instagram Stories, using product stickers enabling people to quickly get information about featured products and then go on to buy them. Instagram has been rolling out ecommerce functionality for the last couple of years It's far from certain that IG Shopping will even come to fruition; according to The Verge, Instagram has refused to comment. However it makes perfect sense for Instagram to come up with an ecommerce solution that keeps everything and everyone within its own app, rather than sending users off to various ecommerce websites, and this could be great news for creatives who want to sell their wares through the platform. Of course, this thinking might not carry through to the users themselves; expecting them to install a whole new app specifically for shopping might be a bit of an ask; we'll have to see what sort of incentives Instagram can dangle in front of users – and also merchants – to encourage them to buy into IG Shopping. Instagram is certainly in a good position to move further into the ecommerce business; we'll be keeping an eye on this story to see how it develops. Watch this space. Related articles: How to make money on Instagram as a creative 6 Instagram hacks to transform your feed 5 ways to go viral on Instagram View the full article

Art software has revolutionised how illustrators create 2D work, thanks to features that give users greater control over their creations. Alongside these tools, software tailored towards 3D art has also changed people’s creative ambitions and opened up new career opportunities. Yet, despite the two disciplines having skill sets that overlap and feed into one another, some artists have initially struggled to move between 2D and 3D. We spoke to artists who have made the leap to find out how they managed it, and discover how you can get started in 3D. Even a relatively early introduction to animation and motion graphics software Maya 3.0 couldn’t help it click with Imaginism Studios cofounder Bobby Chiu. “It didn’t really feel like sculpting to me back then,” says the concept and character designer. “As an artist, you’ll benefit from knowing and using 3D because everything you build in 3D can be used in combination with anything else, like digital kit-bashing,” says Bobby Chiu “It wasn’t until 2017 when I asked a sculptor friend of mine, Justin Goby Fields, to put together an introduction to ZBrush course for artists that ZBrush finally made sense to me. I’ve been learning and using ZBrush ever since.” For 2000 AD artist Thomas Foster, picking up 3D software skills helped improve his confidence in creating realistic backgrounds and vehicles. “Upon discovering SketchUp, I spent a lot of time designing background elements from scratch, or utilising existing assets in order to round out my repertoire.” Thomas points out that the usefulness of 3D depends on the career route. “Those illustrating children’s picture books or working in portraiture may not see any significant benefit.” The further discovery of DAZ 3D, which specialises in rigged 3D human models, enabled Foster to create full 3D scenes with minimal modelling involved, before he even put pencil to paper. “This meant I always had a solid foundation on which to build my images. The time spent exploring these methods has greatly improved my versatility and the range of resources at my disposal.” Career benefits The speed with which artists can lay down ideas with 3D software makes proficiency with tools such as ZBrush, Blender and Cinema 4D hugely desirable to clients – especially when it comes to concept art. “Designs that concept artists create are meant for one thing: to be built,” explains concept artist and illustrator Houston Sharp. “If concept artists can start that 3D visualisation in the beginning design phase, it makes it easier for the rest of the team to understand what needs to built. From there, the team can even take the 3D concept to use as a starting point for the final assets.” Houston warns that artists shouldn’t let 3D take over. “Your 2D skills are just as valuable – if not more valuable – as any 3D program,” he says. Despite its usefulness, artists are still able to get work with no prior knowledge of 3D software. It just depends on which route you want to take. Philipp Scherer reveals that getting your foot in the door still remains the most difficult step to landing projects. “If you’re working in the entertainment industry however, a basic knowledge of 3D is almost expected and working digitally is mandatory,” the concept artist and illustrator explains. “Even basic knowledge of 3D tools can be helpful. I have friends working as 2D artists that only know how to navigate in 3D and set up a basic render. But it helps them when they receive files from a third party and they’re asked to create a quick painting based on a 3D model.” "It’s a good idea to learn the principles first and the tools later," adds Sharp, "otherwise there’s a risk of becoming dependent on the tools. It’s like building a flashy house on top of bad foundations." "There are plenty of 3D concept artists who can’t draw or paint, and that compromises them when they’re asked to quickly sketch something out, or make a certain mood/composition. If you’re confident in your foundation, then learn that new tool. If not, it’s probably better to hold off until you are." At Phoebe Herring’s university, 2D is taught alongside 3D. “I do hear from some students that it knocks their confidence at first. These are often artists who have always been top of the class” Phoebe Herring, a lecturer in game art at Falmouth University, agrees that 3D art is becoming increasingly vital for concept artists. “Clients are interested in the designer’s vision, not in waiting around for them to lay out all of their vanishing points by hand.” She points out that physically based rendering offers her students a way to talk about materials that applies to both 2D and 3D art. “3D theory is a great way to talk about this stuff, and students confident in 3D can mock up quick scenes to check the way their creations respond to the light.” Sharp agrees, and from a career point of view, he adds that studios have 3D expectations. "It’s definitely better to have some knowledge of it going in. If the studio or client is expecting you to fit within their design team, who use a lot of 3D, it’ll be an issue if you can’t keep up with them. But concept artists aren’t modellers and asset builders, so sometimes just a rudimentary knowledge of 3D is enough." Going in head first Herring adds that there are other ways 3D studies can push your 2D skills to the next level. “Students often benefit hugely from sculpting proportionate human heads in ZBrush, even if they never go on to do 3D character art. The study forces a real understanding of the way features fall on the skull and reveals weak points for the artist to work on.” According to Herring, 3D knowledge can’t exist in isolation. “It needs to sit alongside rock-solid perspective, anatomy and design skills. These fundamentals are the real tricky things, and nobody ever stops learning them.” Alix Branwyn says 3D can be an invaluable time and money saver. “It enables you to either take on more work or take some time for yourself – something as artists we probably don’t do enough” Illustrator Alix Branwyn also thinks that without a certain level of 2D understanding, 3D tools can only achieve so much. “I’ve found that a lot of the software that’s used for posing figures often leaves an unrealistic feel that can seep into the illustration and make it seem ‘off’. Faces feel lifeless and a bit ‘uncanny valley’, and hands often feel stiff and waxy rather than expressive and fleshy. “I look at the use of 3D the same way that I view the use of photo reference and 2D digital shortcuts: it’s just another tool to get the work done quicker and make it look good.” Chiu is of the same mind. “If you don’t understand art fundamentals, 3D won’t save you.” Where to start learning 3D? For 2D artists looking to add 3D to their skill set, the range of tools available can be an embarrassment of riches. “Start small. 3D can be overwhelming,” advises Magic: The Gathering artist Steve Argyle. “One very good way to learn 3D is to commit to one piece of software at a time and learn the basics of everything it does. Then go deep into whatever it is you want to do with that software.” Steve Argyle finds 3D useful for roughing out a scene. “You don’t have to model in every detail, but if you have some building blocks to work with, everything becomes easier” Dabbling with 3D software doesn't have to break the bank either, adds Sharp. "I can’t think of a single 3D software that doesn’t offer trial versions of their software, so that’s a good place to start if you’re too new to know if you want to commit." "Some software even have simplified versions of their paid counterparts. If you can’t afford ZBrush for example, Pixologic offers a free digital sculpting program that’s similar to ZBrush called Sculptris." If this sounds too much like hard work, Foster still thinks it’ll be worth your time experimenting. “There’s virtually no reason for artists not to learn about 3D. Even if the conclusion they reach is that it’s of no use to them, it will, at least, be an informed conclusion. More likely, they will come away with another string to their bow.” This article was originally published in issue 162 of ImagineFX, the world's best-selling magazine for digital artists. Buy issue 162 or subscribe. Related articles: 27 free 3D models Create your own 3D typeface Model 3D textures quickly with Normal maps View the full article

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Trojan Horse Was a Unicorn , the unique, annual six-day festival for digital artists, is back! It's exclusive venue, unparalleled access to the speakers, great mentorship and recruitment section have rapidly given it a reputation as one of the best conferences on the creative calendar. But 2018 sees some changes. Don't panic; all of what came before is still there but 'there' has moved from Troia, Portugal to Valletta, Malta. The move had to happen, due to the overwhelming demand from the growing tribe of loyal THU fans, who have spread the word through the digital art, animation and VFX communities. Valletta, the new home of THU, in Malta, looks to be a special place for a special event What can you expect from THU? This year, as always, there will be a large contingent of speakers, known as Knights, presenting and mentoring at THU. These come from some of the world's biggest studios and have experience in not just creativity but business and some of the auxiliary skills that are so important to being a success in this industry. However, the big news is that the recruitment element has made massive inroads into the industry, with the organisers securing some of the biggest names in the world to come in search of the latest talent. Not only are Disney Animation Studios, Ubisoft, Naughty Dog and many others in attendance, but THU just announced that Lego and Netflix will also be there, hunting the huge pool of talent that can be found at the event. So if you are looking to make a career move, or feel ready for a fresh challenge then head to Malta this September, take in the incredible talks, rub shoulders with your heroes, then have a portfolio review before heading over to speak to your future bosses! Read more: Final Generate London lineup announced How to draw a face Best practice for capturing human anatomy View the full article