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Mobile now accounts for over half the web's traffic, and web applications enable users to do things in the browser that rival native apps, but there's a problem: the quality of connections and devices varies massively all over the world. Catering both to users on lightning-fast connections in Seoul, and users in rural India on an outdated phone, is the latest usability challenge, and Progressive Web Apps are the solution. PWAs use progressive enhancement to load the most important content first, then add presentational and functional extras as required, meaning that all your users get the same core experience as quickly as possible. If you want to reach the widest possible audience, PWAs are the way to go. 10 tips for better mobile UX designThough Progressive Web Apps bring a lot of benefits and functionality to the web, they don't require rewriting your entire application. Any app can be converted to a PWA by adding a few extra layers to it. For best results, you'll want to put a strong emphasis on performance from the beginning — but that's true of any web app. Here, we'll walk through the steps to make your app progressive. 01. Serve over HTTPS Let's be honest: you should be doing this anyway. SSL adds an extra layer of security to the web, helping your users feel secure in using your site. With PWAs, HTTPS is essential for using service workers and allowing home screen installation. You can purchase an SSL certificate from your domain registrar at little expense and then configure it through your hosting service. 02. Create an application shell Your app shell is the first thing that loads — the first thing the user sees. It should be exist entirely in your index HTML document, with inline CSS, to ensure it appears as fast as possible and your user isn't staring at a white screen for longer than necessary. The application shell forms part of the pattern of progressive enhancement. Your app should give the user content as soon as possible, and then progressively enhance it as more data (likely JavaScript) loads. The example below is taken from a React.js application. The user is presented with an outline of the app and a loading indicator in the index.html. Then, once the JavaScript loads and React boots up, the full application is rendered within the shell. 03. Register a service worker To tap into the full spectrum of PWA goodies (push notifications, caching, install prompts) you will need a service worker. Luckily, they're pretty easy to set up. Below, we first check if the user's browser supports service workers. Then, if so, we can move ahead with registering the service worker file, here called service‑worker.js. Note that you don't need anything special inside that file at this point – it can be blank. In the example below, however, we show how to tap into the three key service worker lifecycle events. These are 'install', when the user first visits your page; 'activate', right before registration completes; and 'fetch', when the application makes a network request. The last one is relevant for caching and offline capability. 04. Add push notifications Service workers allow your users to receive push notifications via the web Push API. To access it, you can tap into self.registration.pushManager from within your service worker file. Since the sending of push notifications relies heavily on your backend setup, we won't dive into it here. If you're starting an app from scratch, Google's Firebase service comes with Firebase Cloud Messaging for relatively painless push notifications. The code below shows how to register for push notifications via the Push API. 05. Add a web app manifest In order to make your application installable, you need to include a manifest.json in the application's root directory. You can think of this as a description of your application, similar to what you might submit to the App Store. It includes icons, a splash screen, a name and a description. There's also some configuration for how your application appears when it is launched from the user's home screen: Do you want to show the address bar in the browser or not? What colour do you want the status bar to be? And so on. Note that a proper manifest.json should include a full spectrum of icon sizes for various devices. The code below is a preview of some of the properties your manifest can include. 06. Configure the install prompt When a user visits a PWA with a service worker and manifest, Chrome will automatically prompt them to install it to their homescreen, given the following: the user must visit the site twice, with five minutes between visits. The idea here is to wait until the user demonstrates interest in your application, and then ask them to make it a fixture of their device (this is in sharp contrast to the native app approach, which asks for that investment up-front). But there may be cases where you want to show the install prompt in different situations, such as after the user takes a particular useful action. To do so, we intercept the beforeinstallprompt event and save it for later, then deploy the prompt when we see fit. 07. Analyse your app's performance Performance is the heart and soul of PWAs. Your app should be fast for users on all network conditions. Caching and offline capability helps a lot, but at the end of the day, your application should be speedy even if the user does not have the browser to support service worker technology. This is the definition of progressive enhancement – provide a great experience for everyone, regardless of device modernity or network conditions. To do so, a useful set of metrics is the RAIL system. RAIL is what Google calls a 'user-centric performance model' – a set of guidelines for measuring our app's performance. The acronym stands for Response (how long it takes for your app to respond to user actions), Animation (keeping animation speed at 60fps), Idle (using time when your app isn't doing anything else to load and cache additional assets) and Load (loading your app in one second or less). Here is a table of meaningful benchmarks for application loading, as supplied by Meggin Kearney, tech writer at Google Web Fundamentals. Click the icon in the top right to enlarge the image 08. Audit your app with Lighthouse Google is the biggest champion pushing Progressive Web Apps as the future of the web. As such, it has supplied a useful tool for guiding your PWA development. Formerly called Lighthouse and supplied as a Chrome Extension, as of Chrome 60 it's a part of the Chrome DevTools, under the 'Audits' tab. What Lighthouse does is run your application under different conditions and measure its response and success according to PWA guidelines. It then gives you a score out of 100. It can also score your app on web best practices at the same time. The following text is a list of the values Lighthouse measured. In use also shows descriptions. Registers a Service Worker Responds with a 200 when offline Contains some content when JavaScript is not available Uses HTTPS Redirects HTTP traffic to HTTPS Page load is fast enough on 3G User can be prompted to install the Web App Configured for a custom splash screen Address bar matches brand colours Has a <meta name="viewport"> tag with width or initial-scale Content is sized correctly for the viewport This article originally appeared in Web Designer issue 266; buy it here! Related articles: Beyond progressive enhancement: building a seamless web How to use animation in mobile apps Adaptive Web Design author shares his accessibility quest View the full article

Google this week finally addressed the KRACK vulnerability in Android, three weeks after the WPA2 protocol flaw was publicly disclosed. View the full article

We haven't had Black Friday yet, but Marks & Spencer has already given us a taste of what to expect from its 2017 Christmas campaign by releasing its heartwarming Paddington and the Christmas Visitor ad. Featuring the marmalade-loving bear created by Michael Bond, the commercial ties into a series of in-store events, products and charity benefits. Exclusive deal: Save 15% on Adobe Creative Cloud now The advert, which you can watch below, echoes the approach of the phenomenally popular John Lewis Christmas adverts. In recent years John Lewis has used penguins, dogs, and an assortment of woodland creatures to get viewers in the festive mood, and it looks like M&S wants a slice of the action. In the ad, Paddington Bear confuses a rooftop burglar with Santa Claus thanks to the thief's sack of gifts, and the pair team up to return the pilfered presents to their rightful owners. It's such a heartwarming adventure that, by the end, the criminal has seen the error of his ways. D'awww. Accompanied by the tagline "Spend it Well" and the hashtag #LoveTheBear, this is the first of many Christmas adverts we'll likely be seeing over the next few weeks in the run up to the big day. What NOT to get a graphic designer for Christmas The M&S campaign kicked off yesterday when the advert made its TV debut during the Pride of Britain awards on ITV. If you haven't caught the ad on TV, you can always see it at the cinema before screenings of (you guessed it) Paddington 2, which opens in British cinemas on 10 November. Paddington and the Christmas Visitor is linked to 90 M&S products, including a £12 Paddington soft toy and a £42 duffel coat. One of the items, a £3 book, will help raise profits for the NSPCC to help fund its Childline service. Children's book readings will be hosted in M&S stores to help promote the family-centric campaign, and staff members have been encouraged to carry out "random acts of kindness" on shoppers, such as free marmalade sandwiches in the cafe. Related articles: Epic animated Christmas ad brings families together 10 great uses of graphic design in Christmas ads Christmas becomes a living nightmare in this hilarious video View the full article

When incorporating repeating designs and patterns into an illustration, few tools will be as useful or as powerful as Smart layers. An invaluable feature in Photoshop CC, Smart layers enable you to create a separate layered PSD that can be embedded into your original PSD, enabling you to create a large-scale design element that can be resized without losing fidelity. Exclusive deal: Get 15% off Adobe Creative Cloud now Copied Smart layers function as Instances: when you update one of them it populates the changes through all of them at once. They can also be warped and transformed like a standard layer while still maintaining their ability to be modified in their original format, and they save transform information such as the scaling and rotation for more precise measurements for future tweaks. In short, they’re an incredibly valuable tool for many aspects of design. In this Photoshop tutorial, I've used an almost completed design in Photoshop as a base to add some design flair. In this case, I’ll be using Smart layers to create a repeating spoked design around the figure’s head to frame her and add some additional visual interest and texture. 01. Design your repeating element Creating the element that will be repeated  I start by developing a repeating element in a separate PSD file on a transparent background. This piece will be placed in a way that will spoke outward around the figure’s head in a circle, so I design a tapered vertical image with that in mind. 02. Put these elements in a folder A new layer containing the repeated element above the main image  In my main file, I create a new folder specifically for these elements. I then create a new layer, and select Convert to Smart Object. I right-click the layer and choose Replace Contents to select the design PSD. I can now move the image into position. 03. Apply a layer mask Applying a mask brings it all together After the design elements are in place, I apply a layer mask to the folder that holds all of them. I mask out areas of the piece where my rendered figure will overlap the background designs and use a textured brush to soften some of the hard edges. Bonus tip When creating line work in Photoshop it can be tricky to achieve smooth, unwavering lines with sharp tapered ends. I use a mouse plug-in called Lazy Nezumi Pro to help pull clean, sharp lines and greatly speed up my workflow. This article originally appeared in ImagineFX issue 147. Buy it here. Related articles: Master Photoshop layers: 6 top tips 95 top Photoshop tutorials Create style frames in Photoshop View the full article

Sometimes it's just not enough to put your content online and hope people take notice. You have to give people a reason to come see your work – and keep coming back. Don't wait until Black Friday: learn how to build a better, more responsive website or app that users will love with the UI/UX Professional Designer Bundle, on sale now for just $39 (approx. £30)! The UI and UX Designer Bundle has put together eight can't-miss courses that are packed with lessons to teach you the fundamentals of design, focused on user experience on your websites, apps and other designs. You'll work through the best ways to make use of popular coding languages like HTML and CSS and tweak your site to be more responsive and easier to users to interact with. You'll pick up the most important concepts of designing with user interface in mind with this collection of courses. You can get the UI and UX Designer Bundle on sale right now for just $39 (approx. £30). That's a 94% saving on the retail price for this can't-miss bundle of courses that will up your design game, so grab this deal today! Creative Bloq deals This great deal comes courtesy of the Creative Bloq Deals store – a creative marketplace that's dedicated to ensuring you save money on the items that improve your design life. We all like a special offer or two, particularly with creative tools and design assets often being eye-wateringly expensive. That's why the Creative Bloq Deals store is committed to bringing you useful deals, freebies and giveaways on design assets (logos, templates, icons, fonts, vectors and more), tutorials, e-learning, inspirational items, hardware and more. Every day of the working week we feature a new offer, freebie or contest – if you miss one, you can easily find past deals posts on the Deals Staff author page or Offer tag page. Plus, you can get in touch with any feedback at: deals@creativebloq.com. Related articles: 10 essential TED talks for UX designers 5 ways to improve your UX design 7 UX tools to try this year View the full article

You're reading Peristyle, a New Typeface from Hoefler & Co, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! Peristyle (perystilylum) in Hellenistic Greek and also in Roman architecture, is a row of columns surrounding the perimeter of a courtyard or of a building. Essential elements of the times, the peristyle was a defining element of ancient Roman society. The architectural value of the peristyle resides in the contrast that the element added to […] View the full article

https://thehackernews.com/2017/11/mantistek-keyboard-keylogger.html … View the full article

You need good UV unwrapping of your model for good results. UV mapping is the technique used to 'wrap' a 2D image texture onto a 3D mesh. If you've painted texture maps in the past, you'll know that bad UV mapping coordinates can make the texturing process painful. Be inspired by these incredible examples of 3D artIt's best to start with a clean mesh. This means your mesh has been created with all quadrangular faces, and has no extra vertices. When you're happy with your mesh, you are ready for the next step: UV unwrapping. I use the Roadkill professional plugin for Maya. It automatically lays out UV co-ordinates and minimises distortion in just a few clicks. Here's how I do it. 01. Run the plugin Firstly you'll need to run the plugin by typing Roadkill into the Maya MEL editor, and press Enter. Now select your model and check all boxes in Roadkill then press unwrap. 02. Select the model Now it's time to select the model you want your 2D image texture to wrap on to. Press E on the keyboard, or Edge mode-Select (press E) inside Roadkill and drag-select the model to make it live. The Roadkill interface is just like Maya, so Alt+left click will rotate, Alt+middle click will pan and Alt+right click will Zoom. 03. Position your seams It is usually best to place seams where real clothing has seams (where the panels of cloth would be sewn together). This method is more realistic and it reduces the pain of hiding seams. If the seams are not placed in a realistic location, you will need to make sure you can paint textures in a way that the seams will not be visible. Try to keep UV seams to a minimum and carefully choose where to place them so they are least visible to the viewer. 03. Cut your wrap Once you decide where you want to place the seams just Shift+click to select the edges one by one or double-click the edges. Now press C or Edge mode-Cut select for cutting edges. If you want to be able to stitch the edges back together, select the edge and press W or have Edge mode-Weld selected. 04. Export the UV Map for texturing You have now finished the UV map, so exit the file (you don't even have to save it). It will now update back in Maya with its new UV. You can then create a snapshot of this map to paint your texture map. Select Polygons>UV Snapshot and now go and have some fun painting a texture for your 3D model. This article first appeared in issue 187 of 3D World magazine. Like this? Read these! How to sculpt a 3D-printed goblin 8 3D web projects to inspire you 30 free 3D models View the full article

As a creative, it's natural to want to do a bit of customisation when it comes to your laptop or tablet – and that's where Mac decals come in. Don't wait until Black Friday to try your luck on picking up a bargain: there are deals to be had on decals all year round... Ranging from the cute to the cool, most of these Mac decals incorporate the famous Apple logo design (although it might not be obvious at first sight) and enable you to express your personality through your Macbook, whatever your creative specialism. 01. Stardust Explore the deepest darkest corners of... the world wide web. Price: $24.95A gentle reminder that there is nothing quite as vast and spectacular as the galaxy, not even the internet! This stardust design is available as a skin for every single part of your MacBook – even the trackpad. 02. Iridescent Stone Add a touch of natural elegance to an otherwise bland piece of state of the art tech Price: £18.24 This stunning decal resembles the beautiful light reflecting surfaces of Labradorite, a stone known for it's magical properties and unique mix of colours. Turn your man-made tech into a natural wonder! 03. The Great Wave off Kanagawa Get this right and you'll definitely make a splash Price: £10.22 Decals aren't just for cases! Who can resist turning their keyboard into a reproduction of Hokusai's 'The Great Wave off Kanagawa'? Anyone with not especially steady hands, we reckon; this looks fiddly with plenty of potential for disaster, but it'll look amazing if you pull it off. 04. Creative Brain This illustrative design will get your cogs turning... Price: £10.22 This Mac decal from Etsy shop own Guosh Coo features a lovely illustrative interpretation of the two halves of the brain. The right hand side of the brain is said to be creative, while the left is logical and analytical. Ideal for designers who have to do both in their work. 05. Cream Marble This isn't your average marble design Price: £11.80 366skins offers quite a selection of marble-style MacBook decals; this particularly vibrant example dominated by colourful banding is our favourite by far. This decal is high quality matte vinyl and is completely waterproof and oil-proof (although your Macbook probably won't thank you if you spill your drink on it). 06. Mandelbrot Fractals don't have to be overloaded with colour Price: £6 Give your MacBook a sophisticated fractal touch without going full psychedelic nightmare, with this simple silhouette of the classic Mandelbrot set. 07. All-seeing eye The owner of a Mac that looks like this is no doubt working on something very interesting Price: £8 Make yourself look mysterious on trains with this little decal that replaces your apple with an all-seeing eye. 08. iCoverMyApple iCoverMyApple stickers are inspired by natural environments Price: $7.50-$16 iCoverMyApple is a husband and wife duo where the idea for creating stickers began when they realised that they wanted to enhance and personalise their own 'stuff'. "Our search for beautiful stylish stickers came to a halt. So that's when we decided to create a line of stickers for people who appreciate art and celebrate their own personal style," they explain. 09. Oil Painting Add a splash of colour to your work space Price: £14.94Add a splash of colour to your desk with this brilliant oil painting mac decal design. It will no doubt get those creative juices flowing and inspire you to add more colour to your work. 10. Flowers Bring a natural look to your Mac with this flower decal Price: £9.90Macs might be one of the most high tech commercial gadgets, but even they can benefit from homely decals. This pleasant floral cover would be perfect for green-fingered mac users, or anyone after a subtle decal that would be at home anywhere. 11. Banksy This decal gives your Mac some street art edge Price: £7Did you manage to visit Dismaland? Or maybe you've got a copy of Wall and Piece on your coffee table. Either way, this decal is perfect for fans of the subversive, counter-culture graffiti artist, Banksy. 12. Harry Potter Show your love for Mr Potter through this clever decal Price: £5.49Decals don't need to cover the whole surface of your Macbook. This smart little design turns your Apple logo into an homage to the boy wizard himself. Ideal for all Harry Potter fans – just make sure you stick it on straight. 13. Bohemian Take a walk on the wild side with this decal Price: £17.49Channel your spiritual self with this beautifully worn mac decal. Decorated with intricate mandala-style imagery, this cover is finished off with a gorgeous turquoise and sepia colour scheme to give your laptop an ethereal touch. 14. Colour rays This radiant decal will brighten up your Mac Price: £15.69Here's a decal that will get you noticed! Inject some much-need rays of colour with this Mac decal design. Full of a wondrous array of shades, this will brighten up any day. Next: 12 more amazing Mac decals 20. Superman This decal is a great homage to the man of steelThis Mac decal is a must-have for any Clark Kent fanatic. Whichever interpretation of the Kryptonian superhero you prefer, this Mac decal is the perfect accompaniment to your obsession. 21. Iron Man Saving the world, one Macbook at a time...Kicking off our list is this awesome Iron Man Macbook decal. The clever design incorporates the famous Apple logo as the superhero's deadly arm blaster. 22. Retro logo Be the envy of all your friends with this simple but super-cool retro Mac decalIf you're a fan of retro design, then you'll love this replica of the rainbow Apple logo used by the company in the mid-'70s to the late-'90s. Simply place over the current Apple logo on your Mac, power up and watch the colours light up! 23. Street Fighter: Ryu Everything I do, I do it for RyuHow awesome is this Ryu Mac decal?! The Street Fighter legend and 'hero' of the series comes to life, using the Apple logo as his fireball. One for you game-lovers out there! And speaking of Street Fighter, have you seen these brilliant Street Fighter illustrations? 24. Super Mario Apple makes its way into the Mario worldItsa Mario! You simply can't have a post on Mac decals without the world's most famous Italian plumber making an appearance. We loved this one especially thanks to the cute and clever design. 25. Snow White Snow takes that fateful bite - add a touch of Disney charm to your MacBook!An oldie, but a goodie. This decal cleverly utilises your Mac's apple, by adding classic, iconic Disney princess, Snow White, and that all important plot device -the poison apple that sends her into a spellbinding coma, only to be awoken by her true love's kiss. Related articles: 33 stunning iOS app icon designs The 13 best iPad apps for pro designers Luxury photo book tells the story of Apple design View the full article

We all know that creatives have very busy schedules, but there are some dates in the design calendar that simply shouldn’t be missed. So stop what you’re doing and put a big bright note next to the 14 November in your diary as the day you’ll join us for Adobe’s Creative Meet Up. In just a week’s time, the software giant will be heading down to the heart of London’s creative community, where some of the industry’s brightest minds will be sharing their expertise. And you can be there too as we live stream all the action right here on Creative Bloq. Join us on 14 November from 18:30 GMT (19:30 CET) to hear from some of the most creative minds in the business. Principal Manager of Creative Cloud Evangelism at Adobe Rufus Deuchler will kick things off with details of the latest game-changing updates to Creative Cloud, swiftly followed by luminary talks from prolific art director Kate Moross and artist and print designer Kelly Anna. If that wasn’t enough, there will also be live tutorial with multidisciplinary graphic designer Tina Touli, and none other than one of the world’s most influential and visionary photographers Nick Knight headlining the event. Freelance artist and print designer Kelly Anna is part of an amazing line-up at this Adobe's 2017 Creative Meet Up. Image courtesy of Kelly Anna Creative revelations As well as this stellar line-up of speakers, the Creative Meet Up is a great opportunity to find out more about the next generation of Creative Cloud, which was recently unveiled at Adobe’s annual Adobe MAX conference in Las Vegas. Constantly working to meet the needs of and enhance the workflow for busy artists and designers, the show-stopping event showcased new feature updates to its flagship applications, Photoshop CC, InDesign CC, Illustrator CC and Premiere Pro CC. There were also many other exciting announcements, including four brand new applications: Adobe XD CC - developed in open partnership with the design community through a public beta, Adobe XD is the go-to tool for designing and prototyping mobile apps and website. Adobe Dimension CC - previously Project Felix, Dimension allows graphic designers to really get to grips with the power and flexibility of 3D, with the ease of working with 2D. Character Animation CC - launched just a couple of weeks ago, this brilliant 2D animation tool helps bring still image artwork from Photoshop or Illustrator to life. Adobe Photoshop Lightroom CC - the all-new cloud-centric photo service for editing, organising, storing and sharing photos from anywhere. Other highlights at Adobe MAX included details of Adobe’s artificial intelligence platform Adobe Sensei, which has been implemented into all of the new CC updates. This means that the entire design process, from concept to completion, is accelerating dramatically. Attendees were also excited to learn of additional investment and expanded resources from Adobe to help people fully realise their creative potential. This includes the launch of AdobeLIVE on Behance, a livestreaming channel where 10 million Behance community members can learn from and inspire each other. With all this development and innovation, it’s no wonder creatives across the globe choose Adobe products as their go-to tools. Want to know more? Join us for the Adobe Creative Meet Up live stream, right here on the 14 November! View the full article

How do you go about choosing imagery for your brand? This will largely depend on things like the nature of the product, the company’s business goals and the intended audience. So to a large extent, the more research you do into these things, the better equipped you’ll be to know what kind of imagery will work. There are, however, some general dos and don’ts that apply to pretty much all branding projects. Here we talk you through six of them, and provide examples of each. 01. DO be eye-catching You can’t ignore an image like thisRight now, we’re living through a time when it’s never been more challenging to gain attention. Once upon a time, print and TV were the respected gatekeepers channelling all the eyeballs into just a few places; all advertisers needed to do was pay for space. Now, our eyes are darting everywhere, from print to digital, apps to social media. It’s all so cluttered and so, where we haven’t yet managed to install ad-blockers, we’ve installed virtual ones in our own mind, mentally filtering out anything that doesn’t grab us immediately. This dramatic imagery helped make the Lost Village Festival a selloutNowadays, then, any branding needs to work hard to generate excitement, and any imagery you use must be instantly alluring for your campaign to succeed. The visual identity for the Lost Village Festival in Lincolnshire by Only Studio takes that idea and runs with it. These colourful and dramatic shots have an instant impact and immerse the viewer in what looks like an unforgettable experience. You can see more of the branding on Only Studio's site. 02. DON’T be predictable This is not your average gym imageryIf you really want to get attention, here’s a simple technique: think about the kind of images people will expect to see, and then produce something very different. Because disrupting people’s expectations is a key way to make your imagery look authentic and to generate an emotional response. These shots are far removed from the average health or fitness campaignLIFE showed just how this is done with its campaign for GSK’s health nutrition brand Gen P. It used fitness photographer Paul Calver to capture strong, athletic models taking part in a live resistance training session; and the results are far removed from the average health or fitness campaign. Check out more of the images on the LIFE site. 03. DO get creative with collage Photo collages are a great way to convey multiple themesIt may be an old-fashioned technique, but right now the art of photo collage is making a big comeback in the design world. And when done right, it can be a brilliant way to combine multiple and varied images, and to evoke a flurry of complex emotions in the viewer. This old-fashioned technique is being rediscovered by contemporary designersJohnson Banks, for example, made great use of photo collages in its branding for the Victoria & Albert Museum’s 2016 exhibition You Say You Want a Revolution? The exhibition covered a huge range of themes and multiple revolutions, both cultural and political. Photo collages offered a great way to encapsulate all of this visually, and to create a coherent identity for the show. You can see more of the designs on the Johnson Banks site. 04. DO consider illustration Elegant illustrations add a touch of refinement to this hotel brandThink images, and it’s natural to think photography. But precisely because of the ubiquity of this type of imagery, you may be able to make more impact with illustration. After all, in the iPhone and Instagram era, everybody can take a half-decent picture, but a beautiful painting? Technology has not (yet) made that possible at just a touch of a button. Quirky yet sophisticated, these diverse identities give a high end feel to the brandFine showed just how much the right illustrations can elevate a brand in its identity for boutique hotel chain Monaco. Based on the theme of the quirky globetrotter who collects design inspiration wherever they go, Fine commissioned a series of richly diverse illustrative identities that convey the high-end nature of the brand while appealing to the individualist. You can see more of the images of the identity on the Fine site. 05. DON’T overcomplicate A simple silhouette can be all you needSometimes the most effective imagery is the most subtle. Whether you’re using photography or illustration, always consider whether less may be more. The simplest silhouettes and most basic shapes can transmit a powerful feeling to people’s brains, fast, so they’re always worth investigating. Stranger & Stranger was careful not to throw out the brand’s heritage during its redesignCheck out Stranger & Stranger’s redesign of Sandeman’s tawny ports. While the aim was to give the brand a modern-looking refresh, the team was keen to keep the iconic cloaked and hatted figure as the central image of the brand. Because sometimes, the best brand imagery really is the one you’re already using. You can see more of the new designs on the Stranger & Stranger site. 06. DO focus on colour Defining a campaign through a single colour can be an effective strategyAs we’ve often noted in the past, a series of top brands have successfully managed to ‘own a colour’, such as Coca-Cola’s red and Tiffany’s distinctive blue. But it can also be effective to focus a single campaign on a specific colour, particularly when the overarching theme of the campaign supports it. Theatrical images emphasise this sub-brand’s rebellious themeA good example can be seen in AKQA’s campaign for Rolls Royce Black Badge. This modern sub-brand Black Badge is the disruptive alter ego of the traditional Rolls Royce marque, and so called for an audacious and theatrical succession of images. The use of a black theme played nicely into these arresting photographs, and you can see the full series on the AKQA site. Liked that? Then read these: The top 10 big-brand logos Where to find unusual images for your design projects 5 uses for stock images you might not have thought of View the full article

We’re firmly into Black November now – and it’s a fantastic time to grab a cheap Wacom tablet deal if you’re in the market for a nifty new graphics tablet. If you’re not sure where to start, take a look at our selection of the best drawing tablets of 2017. It’s packed with all the info you need to make the right purchase decision for your needs. But for cheap Wacom tablets, look no further. We’ve scooped up the best deals on Wacom's drawing tablets and accessories on this page, and will be updating it throughout the month with the latest deals and discounts as they drop. As always, the best place to bag a bargain on Wacom products isn’t on the Wacom website. Instead you’ll need to look to leading retailers like Amazon, John Lewis and Currys. Staying on top of the best deals isn’t easy though – especially when you’re meant to be at work. That’s why we’re bringing them to you here. Read on for the cheapest Wacom deals we can find on the firm's leading tablets… Wacom Cintiq 13HD Creative Pen Display Wacom's ever-popular Creative Pen Cintiq tablet offers a high precision solution for all your graphics projects, whether in the office or at home. Weighing in at just 1.2kg, it's a highly portable device, meaning you can easily jot down sketches on the go, and with a 13.3 inch display, there's plenty of room to really express your creativity. It also comes complete with Wacom's powerful Pro Pen, featuring 2048 levels of pressure sensitivity and tilt recognition. Wacom Cintiq 27QHD Creative Pen and Touch Display Offering unparalled clarity and colour sensitivity, the Cintiq 27QHD provides true-to-life colour on a high-resolution, 27-inch display. The widescreen 16:9 display has four times the pixel density of standard HDTV, providing artists with the resolution (2560 x 1440) to handle the finest detail. Designed for drawing and painting, image editing and 3D animation, the 27QHD includes a Pro Pen, complete with a range of nibs, including felt for a smooth flow across the tablet surface. Wacom Cintiq Pro If you're after that natural pen-on-paper feel from your tablet, look no further than the Wacom Cintiq Pro. Designed for professional artists and designers who demand an intuitive, pen-on-screen connection to their work, the Wacom Cintiq Pro offers a resolution of up to 4K and a wide-gamut display, so you’ll be able to see your work in life-like detail. Wacom MobileStudio Pro Wacom MobileStudio Pro provides an entire studio full of powerful creative tools right at your fingertips. Featuring the new sensitive, more accurate and responsive Wacom Pro Pen 2, this MobileStudio provides everything you need to create at your best, from your studio desk to on the go. Available in two sizes, 13- and 16-inches, the MobileStudio Pro has been designed specifically to meet the demands of creative professionals who want the freedom to create anywhere. Backed up by powerful Intel chips, these machines have all the muscle you need to run professional creative applications. Plus, the Wacom MobileStudio Pro 16 model come with NVIDIA Quadro graphics and on-board memory to make even the heaviest files fly around your screen. Wacom Intuos Pro If you're after a quality drawing tablet but are on a bit of a budget, then the Wacom Intuos Pro might be just the solution. Simply connect this nifty but affordable device to your Mac or Windows PC with USB or built-in Bluetooth, install drivers, and you’re ready to start work directly in the software of your choice. The ultra-responsive Wacom Pro Pen 2 connects you to your creative work like never before, providing the perfect drawing space. Wacom Bamboo Slate Wacom Bamboo Duo stylus Wacom Bamboo Fineline stylus Wacom Bamboo Sketch stylus Related articles: The best deals on Adobe Creative Cloud The best cheap laptop deals for creatives The best Currys Black Friday deals 2017 View the full article

It might still be 2017, but the Eurovision Song Contest is looking ahead to next year with the launch of the branding and logos for the 2018 contest. Creative Bloq readers might remember the 2017 Eurovision Song Contest logo, which celebrated diversity, but for 2018 there's a distinct underwater theme. This doesn't mean Eurovision has thrown the idea of diversity completely out of the window. Instead it's used the ocean as a creative theme that acts as a framework for a similar angle, summed up with the zingy slogan "All Aboard!" The nautical theme also ties in nicely to the history of Lisbon, Portugal, which is where the 63rd contest will be hosted. Watch how the new logo came about and get hyped for the 2018 contest with the video below. Organised by the European Broadcasting Union (EBU) with its Portuguese Member RTP, the 2018 logos use the ocean to explore how the continent is connected. Gonçalo Madaíl, creative manager of RTP, said: "For centuries, Portugal explored the world by sea. Today, Lisbon is more and more the city of all colours, a great harbour of cultures and sounds that welcomes you all to come aboard!" The main logo for the contest is a sea shell, but 12 other derivations are predicated on the concept of the varying life in the oceans. Through these multiple logos, the creative concept portrays key themes such as diversity, respect and tolerance. Explore the full haul by clicking left to right in the gallery below. Jon Ola Sand, the EBU’s executive supervisor of the Eurovision Song Contest, said: “We are extremely happy with the creative theme and logos for this year’s contest, which resonate with Lisbon’s history and underscore Eurovision’s core values, including diversity, very well. "The Ocean connects all of us, and its variety can provide good inspiration for each of the 42 participating broadcasters that we look forward to seeing in Lisbon next May.” The Eurovision Song Contest final will take place on Saturday 12 May. Related articles: The top 10 big-brand logos The 6 best design industry logos The psychology of logo shapes: A designer's guide View the full article

http://www.storiescentral.com/these-free-things-will-get-you-in-trouble/ … View the full article

In his introduction to Now You See It and Other Essays on Design (published by Princeton Architectural Press, RRP $35/£25), Pentagram New York partner Michael Bierut speaks of the “intimate connection between graphic design and language”. Bierut notes that “Writers are inevitably participants – active or unwitting – in the graphic design process… Words are at once the designer’s raw materials and reason for being, simultaneously a means to an end and the end itself. I am suspicious of any graphic designer who is not an enthusiastic reader.” And with that, he seems to have neatly summarised the raison d’etre for his very own new title (clever), a collection of more than 50 short pieces by the man himself that tackle all manner of design issues, from how to draw, to celebrating the work of Alan Fletcher and Massimo Vignelli, to listicle-type pieces like “13 ways of looking at a typeface” to “the cult of advertising personality.” It’s very much a book of essays about design, rather than a 'design book'. The cover is purely typographic, with bold all-caps lettering struck through with red – a clever play on “now you see it,” because, of course, we really only partially see it at all. The focus is on the “and other essays on design” part. “Seeing” here means reading: there are very few illustrations at all. The vast majority of the essays were previously published in Design Observer, with the odd piece from the AIGA Journal, such as a charming 1989 missive in which Bierut discusses his early days discovering that he had drawing talent while at school. And even more poignantly, the importance of 1950s TV show Learn to Draw with Jon Gnagy, and the accompanying instruction book of the same name. There’s a beautiful honesty and sincerity about Bierut’s writing style in pieces like this, which mix personal remembrances with universal lessons that could be picked up by anyone working or interested in creativity. In drawing these writings from the last 25 years or so together, we see that maybe Bierut’s writing is at its best in these quickfire, to-the-point essays: they’re engaging, smart, meaningful and witty, and refreshingly never veer into unnecessary jargon or design doublespeak. "Design is a way to engage with real content, real experience," he writes; and he certainly practices what he preaches. Who else could manage to combine musings on baseball; lessons on client relationships from The Sopranos; seven-piece horn band Chicago; and Miami Vice, and wrangle them through a convincing design lens otherwise? Related articles: 25 names every graphic designer should know Books every graphic designer should read Best free fonts for designers View the full article

Trustwave discloses an unpatched vulnerability in Brother printers with the Debut embedded webserver after numerous attempts to contact the vendor failed. View the full article

http://www.zdnet.com/article/windows-10-if-you-want-a-highly-secure-device-follow-these-rules-says-microsoft/ … View the full article

Whether you work in web or print design, you need to understand grid theory. While some designers actively eschew grids in favour of a more intuitive, freeform layout, the most successful do so having worked with grids for years – they understand the rules before they break them. For self-taught designers, a lot of the theory and rationalisation behind the grid as a design tool simply isn't covered by the typical blog posts and conference talks. We're here to set things straight with this pocket-sized guide to the grid, including a small smattering of theory. Let's get started. 01. Grids establish a meter and rhythm A grid will help guide the viewer to the information they wantThe foremost purpose of a grid – in graphic design at least – is to establish a set of guidelines for how elements should be positioned within a layout. Not only does an effective grid provide the rhythm for a design, but it also defines the meter. This is an important part of making the content accessible, and helping the viewer understand where to find the next piece of information within the layout. It sets expectations and defines the rules, timbre and – in some cases – voice of the design. Think of a grid as providing the road map along which your viewers travel. 02. Grids define and reflect proportion A key aspect of the grid is its ability to help determine and define proportion. In print, proportions most commonly echo the size of the media; the shape and orientation of the paper are often reflected in the size and shape of images included within a layout, for example. This feels comfortable because the reader subliminally understands the context of the layout as a result of the physical shape and size of the delivery mechanism, such as a piece of paper. On the web this idea of reflection isn't quite so important, but grids can be used in the same way to anchor content back to the screen. Screens can be more fluid, and as a designer it's not possible to know with the same confidence what size and shape of screen will be used to view content. Regardless of this, proportion and scale are important tools in a layout, so using a grid to determine and enforce rules helps define that all-important set of signposts that enable the reader to access and understand content. 03. Grids work with the Golden Ratio Basing your design on the Golden Ratio can help ensure a pleasing layoutThe whole concept of a definitive grid 'system' is a relatively recent invention in the world of design. Grids have existed intuitively since the earliest days of man drawing and writing, but it's only recently that layout has been considered in a scholarly fashion, and as such it has never existed in isolation from other best-practice layout rules. One such example of crossover is where the Golden Ratio meets the grid. The Golden Ratio (also known as the golden mean) determines the most pleasing set of proportions for an element, and is simplified to the 'rule of thirds'. When used in combination with a grid, these simple rules for size, position and proportion can help ensure a layout feels coherent, but also aesthetically appealing. This is important because, once again, it can help make the content more accessible. Remember that a grid is the invisible glue behind the content – in most cases it should be transparent to the viewer. 04. There's a 960 grid system on the web A 960px grid can be divided up in many different ways, making it a flexible optionOnce you know the benefits of having a grid system in place, it makes sense that web designers have adopted grids. To make things more practical, a few common sizes have become the standard. The most common is the 960px grid system. 960px is a good size because it has many factors (whole numbers it can be divided into): 1, 2, 3, 4, 5, 6, 8, 10, 12, 15, 16, 20, 24, 30, 32, 40, 48, 60, 64, 80, 96, 120, 160, and so on. Being able to divide the grid up in this way provides a lot of flexibility for the width of columns, offering a multi-purpose, reusable grid system. Needless to say, numerous designers have been busy wrapping up the 960px grid into a helpful set of CSS libraries. One such example can be found at 960.gs, but there are others available if you look around. 05. Grids provide a solid foundation As we've seen, grids exist primarily to help determine the positioning and balance in a layout. Providing this kind of firm foundation can help ensure content is presented in an easy-to-understand order, but it can also be used to highlight specific areas of content simply by breaking them out of the grid. The viewer will naturally identify these break-outs and be drawn towards them, giving the designer the opportunity to play with the hierarchy of a layout and tweak the meaning of a piece of work. 06. Grids work with other key design principles Once you've mastered the basics you can start to break away from the gridDon't forget that the grid is just one tool alongside many basic principles you can use to enhance your layouts. Don't get caught up in using a grid too rigidly – some of the best designs break all the rules of grid layout and are all the more successful for doing so. Understanding how and when to use a grid can only really come from experience, so experiment. Check out our other articles below on design theory to pick up other handy tools and principles you can use to enhance your designs. This article was originally published in net magazine. Subscribe to net here. Related articles: Create a responsive layout with CSS Grid The designer's guide to Gestalt Theory How to master colour theory View the full article

Adobe's Creative Cloud subscription packages continue to divide designers – they offer great flexibility, regular updates and the latest app updates, but they do cost more for long-term users than outright purchasing used to. If you use more than one app (which you almost certainly will), you’ll find yourself paying at least $600/£600 per year to use the Creative Cloud package. Special Creative Bloq November deal: We’ve teamed up with Adobe to offer Creative Bloq readers a special 15% discount on Creative Cloud membership. Instead of paying the usual $49.94/£49.94 every month, you’ll pay just US$42.49/£42.49 per month for the first year. So if you’ve been debating whether to sign up, now’s your chance to get hands-on with Adobe’s stellar suite of world-class design tools – and save some cash in the process.The offer is valid from now until 27 November 2017, and includes Adobe’s entire suite of desktop and mobile apps for Mac and PC, from essentials such as Photoshop CC to next generation tools such as Adobe XD CC. If you just fancy paying as you go (with a monthly contract) the price rises to nearly £76 per month. Add Adobe Stock on an annual contract and it’s around £75 per month. Remember that Creative Cloud subscriptions also give you 20GB cloud storage allowance, making it easier than ever to create across multiple devices and collaborate by sharing files with others. Our pick of the best Adobe Creative Cloud deals available right now The best Adobe Creative Cloud deals As well as our exclusive 15% discount on subscriptions, the price widget below will show you the latest deals on Adobe's Creative Cloud today. The best Adobe Creative Cloud Photography Plan deals As well as our exclusive 15% discount, the price widget below will show you the latest deals on Adobe's Creative Cloud Photography Plan. Related articles: 95 top Photoshop tutorials The best Black Friday deals 2017 7 insane tech sneaks from Adobe Max 2017 View the full article

It's just three weeks until Black Friday and Cyber Monday 2017 will bring you some great discounts on creative tools, but in the meantime, we've got you a great daily deal on a portable chalkboard and chalkboard markers. You never know when you're going to have your next great idea, so when it comes, you have to be prepared to capture it. The Contact Paper Creativity Bundle lets you turn any flat surface into the perfect place to record your latest inspiration and bring your ideas to life. You can get this bundle on sale now for just $17.99 (approx £14). The Contact Paper Creativity Bundle is an essential tool for any creative type. This simple peel-and-stick chalkboard can be set up anywhere on any flat surface, no assembly required and no need to lug around extra equipment. Just cut it into the perfect shape and stick it onto your surface of choice. Whether you want to just write down your to-do list in a place you won't miss or work through your latest brain storm, this is the perfect bundle for you. You can get the Contact Paper Creativity Bundle on sale for just $17.99 (approx £14). That's a saving of 30% off the full retail price for a great tool that will help spark your creativity, so grab this deal today. About Creative Bloq deals This great deal comes courtesy of the Creative Bloq Deals store – a creative marketplace that's dedicated to ensuring you save money on the items that improve your design life. We all like a special offer or two, particularly with creative tools and design assets often being eye-wateringly expensive. That's why the Creative Bloq Deals store is committed to bringing you useful deals, freebies and giveaways on design assets (logos, templates, icons, fonts, vectors and more), tutorials, e-learning, inspirational items, hardware and more. Every day of the working week we feature a new offer, freebie or contest – if you miss one, you can easily find past deals posts on the Deals Staff author page or Offer tag page. Plus, you can get in touch with any feedback at: deals@creativebloq.com. Read more: How to get the best Cyber Monday deals 2017 10 top tools for illustrators to try this October Doodle art: 52 great examples View the full article

Colour harmony is the theory of combining colours in a way that is harmonious to the eye. It's the 'magical glue' that binds all of the elements of your painting together. Without it, you can have the perfect subject to paint, a great base drawing, strong composition, and correct values, but end up with a painting that looks wrong. This problem is pretty common, and the chances are, it’s because the colours you’ve used lack harmony. In real life, the light falling onto elements and the air surrounding them affects the colours we see. The colours on a misty day are completely different to those on a bright and sunny one. It is this ‘atmospheric veil’ of lighting conditions that unifies all the elements of a painting together. There are many rules as to how to achieve such harmony, such as using complementary or analogous colours. We already have an in-depth colour theory guide so I’m not going to go into the theory here – I won’t even mention which colours go well together. Instead, I’ll simply give a few practical tips that can make a big difference to the final result of your piece. The following five tips should help you use colour to create that ‘magical glue’ that harmonises your oil painting and links all the elements within it together. 01. Use a ground colour Start with a ground colour before paintingI always apply a ground colour before starting a painting. It means I won’t need to fill every gap on the canvas, but more importantly, it helps harmonise the piece. The ground colour helps establish an atmosphere, and it can even show through thinly painted areas of the finished piece. My ground colour varies – it could be pink, orange, ochre or grey – depending on the mood of the scene. In this unfinished painting, I chose a vibrant orange to convey the feeling of heat. This colour appears across the whole painting and although in the final piece, many of the gaps are filled in, the feeling remains. For my oil paintings I use primed MDF boards, as they have the correct absorbency for my painting style. I prime each with three coats of acrylic gesso before applying my ground colour. 02. Use a limited palette Keep it simple by using fewer coloursAs a beginner, it is easy to get carried away and buy every colour available. But using a limited palette has many benefits. Fewer colours means you mix most of the colours yourself. I very rarely buy green, for example. Instead, I mix it from two blues and two yellows, so all the greens on my painting look related, and are harmonious with the blues and yellows. The fewer colours you have, the better you’ll get to know them, and the better you’ll become at mixing them. Too many different colours can lead to chaos. Try using only three colours (yellow, blue, red) plus white. You’ll be amazed at how may hues you can make and how harmonious they will look. I mainly use Winsor & Newton Artisan Water Mixable Oil Colours, which means no solvents are needed. 03. Don’t always wipe your brushes Harmony can be achieved by using different colours with the same brushThis tip is rather controversial, and many artists probably won’t agree, but it works for me. I often paint with the same brush for an extended amount of time and consecutively work on various colours without needing to wipe or clean my brush in between. This results in a painting full of harmonious colours that all share some of the same pigments. Obviously, the vibrant colours, strong highlights and darkest darks need to be done with clean brushes to ensure maximum impact. But the mid-tones can benefit from a bit of blending. This technique sometimes even helps to make the highlights stand out. I like to use Rosemary & Co Ivory Filberts (Sizes: 0, 1, 2, 3, 4, 7) and Riggers (Sizes: 0, 2). These combine the silkiness of synthetic brushes with the firmness of hog bristles. 04. Work across the whole canvas Add colours across the canvas for better blendingWhen I paint, I try to see the painting as a whole. If I load my brush with purple, for example, I add brushstrokes everywhere I can see purple in my piece, instead of simply focusing on small areas. I then do the same with the next colour. This helps to harmonise the painting and makes all the elements relate to each other. In this image, note how the same colours appear everywhere on the painting. This technique also has the advantage of making the painting look good at every stage because no areas are left untouched – this is particularly useful when painting outside, as the weather might force you to stop your piece sooner than planned. 05. Add glazing Finishing with glaze can help bring harmony to a pieceIf you have already finished your painting but it still lacks harmony, you can glaze the whole canvas with a colour that adds a specific mood. This reduces the intensity of the colours but links the elements together. Think of it as a little bit like adding a tinted glass over a scene to make it look sunnier, mistier or darker. There are various ways to add glaze. Mix a medium (Winsor & Newton Artists’ Painting Medium works well) or a retouching varnish with a small amount of paint and cover the whole canvas. Make sure you follow the instructions to avoid cracks. Alternatively, load a dry brush with a small amount of paint and apply it thinly over the dry surface. This article originally appeared in issue 11 of Paint & Draw magazine. Buy a copy here Related articles: 7 must-know painting techniques for artists 10 essential oil painting tips and techniques How to draw and paint - 100 pro tips and tutorials View the full article

This tutorial, showing you how to make a mobile app prototype in Adobe XD, was put together using Adobe XD CC (2017 beta) in 2016. The newly launched Adobe XD CC has had a few tweaks, making it even easier to use. Get a 15% discount on Adobe Creative Cloud hereIf you are a designer creating user experiences for mobile apps or websites, you may be used to using multiple tools for different tasks when prototyping. You start with research. Then you sketch ideas on pen and paper, and later transfer your thoughts to a design tool. To come up with the best flow, you export all your assets and bring them into another tool to build a prototype. From there, you share or test your prototype, gather feedback, and return to the middle of the cycle to iterate, switching from tool to tool as you refine your design. Several design tools each tackle a different part of the problem. But instead of making your life as a designer easier, switching between all these tools only decreases your pace. What if there were a single tool that meant you could enjoy a fully connected workflow? Where you could design and prototype your experiences in minutes, share them on the web to capture feedback, then make edits easily without breaking your stride? The goal with Adobe Experience Design CC – or, as we call it, Adobe XD – was to do just that. In this tutorial, we'll show you the main areas of Adobe XD by designing, prototyping and sharing a simple 'meet the team' mobile app. We'll create a contents page listing the product team members, then users will be able to click the individual entries to be taken to a more in-depth biog page. You'll learn how to create high-fidelity designs, prototype and share them to gather feedback. Watch the video above and follow the written steps below to learn how to prototype with Adobe XD. Not only will we show you how to make it, we'll also show you how to test it, record a preview video of it in action, and how to share and export it. Note that some processes might have changed slightly in the newer version of Adobe XD. 01. Install Adobe XD and start a new design Start your design by selecting the iPhone artboard from your template options First, ensure Adobe XD is installed on your computer. Launch it, take a look at the welcome screen and start a new design with an iPhone artboard template. 02. Create a second artboard Use the Artboard tool (A) to create a second artboard, then change their titles (by double-clicking on them) to 'iPhone – Team Page' and 'iPhone – Detail Page'. Change both Artboards' background colours to black using the property inspector on your right. With the Select tool (V) selected, you can press the spacebar at any time to pan across your design. 03. Download tutorial assets I've put together a folder of assets that I'll be using throughout this tutorial. You can download them here. From Finder, drag 'iphone-status-bar.svg' to the top of Artboard 1 (x: 8, y: 5). Then copy and paste it into Artboard 2, so both artboards have the status bar on the top. Hit cmd+L to lock these status bars in both artboards so their properties cannot be modified. To unlock them, you can use the shortcut again or click the 'lock' icon. 04. Draw a rectangle and set dimensions Let's focus on Artboard 1 (the team page). Using the Rectangle tool (R), draw a pink rectangle (#FF2BC2 with no border) in Artboard 1 and set its dimensions to 375 x 230 using the property inspector panel on the right. 05. Reorder objects To turn the border or fill on and off, click on the 'eye' icon on the right. Hit shift+cmd+[ to send it all the way to the back, or go to Object > Arrange > Send to Back. If you want to change colours using hexadecimal values, click on the colour icon, and when the native colour picker pops up, select the second tab at the top and change the drop-down to 'RGB Sliders'. 06. Create a header Using the text tool (T), click to create a header for your team page. Mine is Helvetica Bold, 20, #FFFFFF, x: 18, y: 123. Let's start putting together our list of team members. Draw a grey square where the team member's photo will sit (100 x 100, x: 8, y: 238, #D0D0D0 with no border). 07. Add another rectangle To the right of this, we need a white rectangle (260 x 100, x: 108, y: 238, #FFFFFF with no border) on which we'll include the team member's name as a header and job title as a subhead. For now, use placeholder text, and style it up as you wish. 08. Add an arrow icon To show this box will be a tappable area, we'll include an arrow icon. Drag 'path.svg' from Finder onto the XD canvas to a point off the artboard. Then reposition it to x: 330, y: 279. 09. Place your headshot From Finder, drag a headshot into place on the grey square. 10. Create the list Use the powerful Repeat Grid feature to create your list of team members Now we can create our list. At this point, you would normally be copying and pasting the top item, moving the copied version down and adjusting the margin. You would do the same for new items, and if you wanted to change the margins, you would have to do it manually, one by one. Well, not with Adobe XD – you can use the Repeat Grid feature. Select the items you want to repeat, click on the 'Repeat Grid' button on the property inspector on your right (cmd+R) and use the green handles to repeat the items vertically. You could also repeat them horizontally for a tablet version. 11. Adjust the margin Adjust the margin of your repeated grid by hovering on the edge of your items, clicking and dragging. Let's set the margin to 7. Drag the repeat grid to the bottom of your artboard. We now have four rows to play with. 12. Edit the text fields Drag all the headshots onto the grid While properties (colours, x and y positions, and so on) are global, each item's content can be unique. Edit the text fields to each individual's name and job title. You can double-click to enter the grid and the group, or cmd+click to direct-select any element within a group or repeated grid. Now we just need to grab all the headshots at once and drag them onto the grid and we're finished with this screen. 13. Create a darkened effect Let's jump to Artboard 2 (the detail page). Again, we'll start with a placeholder rectangle (375 x 444, x: 0, y: 0, #FFFFFF with no border) and drag a headshot to fill it. We'll create a darkened effect by changing the image's opacity to 60 per cent and sending it to the back (shift+cmd+[). 14. Add another arrow Then lock the headshot item (cmd+L) and add another arrow ('back-arrow.svg') to indicate the user can return to the team list. This needs to sit at x: 20, y: 40. It is important to lock the image first, because otherwise the SVG will replace the headshot. 15. Add contact information bar We want to include a pink bar on each page, which will list the team member's contact details (375 x 45, x: 0, y: 400). Use the Text tool (T) to create a text element reading 'Placeholder link', centre it, style it up, and place it at x: 169, y: 416. 16. Create more instances of the text element Let's use the Repeat Grid tool to create two more instances of this text element. First, convert the text to a Repeat Grid (cmd+R), then hold the option key while expanding your grid horizontally. Beautiful, isn't it? Direct-select the text (cmd+click) and change the contents to read 'Email', 'Twitter' and 'LinkedIn'. 17. Create name and bio box To finish the design, create a white box (360 x 214, x: 8, y: 445) that will include the team member's name and biog. First add a text element using the placeholder 'Person name'. For the text element that holds the biog, we want to use Area Text. To do this, select the Text tool (T) and click and drag to define the area for your copy. Again, type some placeholder text for now, and adjust its styling properties. 18. Create artboards for other team members Duplicate your detail page so there is one for each team member Now let's make some new artboards for other team members. First unlock the main image (cmd+L), then click on Artboard 2's title to select it, and hit cmd+C to copy it. Zoom out (cmd+- or use the trackpad to pinch-to-zoom), then hit cmd+V to paste three new artboards. Add some biog info to each page. Update the names and headshot images, and arrange the artboards on the canvas. Cool! Our design is finished for now. 19. Set up the flow It's time to start defining the app's flow. A prototype can be worth a thousand meetings, so we will create one to communicate our design intent. Simply jump to Prototype Mode (top left), select the item that will be tapped by the user (hold cmd to direct-select), and drag a wire to the right artboard. When the mouse is released, we can set the segue, easing and duration. Simple. 20. Connect up Wire each item on your list to its respective detail page Let's go though each of the items on our list on Artboard 1 and wire them to their respective detail page. For each of these, we want to set the segue to Slide Left, and the easing to Ease out. Next we can wire the back arrows on each of the detail pages back to Artboard 1 – remember to set the segue to Slide Right this time. Boom – our prototype is ready. 21. Test the prototype Any changes to your design will be reflected immediately in the preview To test the prototype, click on the Play button on the top right (Preview). You don't need to close the Preview window to update your design or your wires. Just start making changes, and they will automatically be reflected on the Preview window. 22. Make a video It's easy to record a video of your interactions when testing the prototype. With the Preview window open, click on the Record button to start and stop recording. Save the '.mov' file and share with your stakeholders. 23. Share your work Share prototypes on the web To share the prototypes on the web, click on the last button on the top right (Share Online). Click on the Create Link button. All the assets will be uploaded to Creative Cloud and a link will be created. If changes are necessary, you can go back to Design Mode, make the changes and share again. The whole flow just works. 24. Export files You can export designs as PNGs for Web, iOS and Android at different sizes, or SVGs From XD, you can export PNGs for Web, iOS and Android at different sizes, as well as highly optimised SVG files. 25. Enjoy the results Congratulations! You've mastered the basics of Adobe Experience Design CC (Preview). Feel free to share your prototypes on the web and social media – add #adobexd so we can see your work. This article originally appeared in net magazine issue 280. Subscribe to net here. Related articles How to avoid prototyping pitfalls How to use animation in mobile apps 10 tips for better mobile UX design View the full article

It used to be extremely difficult to find information about how to break in to the movie industry. Concept artists within the profession talked to each other, but rarely with anyone outside the loop, making it difficult to understand what distinguished film work from everything else. Concept art as used in movies has many facets, and these tips are specifically geared toward emphasising clarity and narrative in your portfolio. The advice I give comes from my experiences and observations within the entertainment field (most recently on Star Wars: Rogue One, Pacific Rim 2 and Transformers: The Last Knight, as you can see on my portfolio site), which is a fast-paced and continually changing industry. To stay relevant, concept artists must adapt quickly, and keep ahead of the curve in a challenging environment. Understanding what art directors and production designers look for when assembling their teams is crucial, as is streamlining your process, since time is always of the essence. Joining a project offers many opportunities and you should learn as much as possible from every one, including building strong relationships with colleagues. Since the concept work on a film can last from a few months to a few years, knowing how the industry works and being able to transition seamlessly between jobs will help you stay on the production as long as possible. Here are my tips for making it as a movie concept artist. 01. Show your ability to adapt to storylines Ballarat Establishing: Tell stories with everything you doAny concept artist working for movies is designing for the story, regardless of their level of experience. Every movie is based on a narrative that must be communicated clearly, whether through a design or defined by a key frame, and a movie-oriented portfolio must show the ability to adapt to storylines. Make sure to show your storytelling abilities: usually three or four keyframes can sell a plot point. These moments should relate to each other rather than be chosen from throughout the narrative, since exhibiting one or two important segments is better than randomly choosing points. 02. Design grounded concepts Encounter: Master the art of accurate historical storytellingMany concept artists these days are talented at designing for the fantasy and science fiction genres. But it’s important not to compartmentalise your talents, and drawing on a broad range of genres is crucial for a film designer’s portfolio. Frequently, aspiring artists overlook historical adaptations that can be big selling points in their portfolios. My first position in film came about because of several Western-influenced keyframes I designed. This type of historical work will indicate you have a broader range than the competition. Make sure only to use references that are correct for that specific time period. When your work is grounded in this way, it means you're depicting the past correctly, instead of creating derivative or stylised designs. 03. Get a clear read Hideout: Convey your ideas clearlyExpressing an idea clearly is as important as communicating a narrative, but many aspiring concept artists sacrifice clarity by over-designing an image. The aim is to simplify ideas, not create unnecessary confusion. Studios look to artists who can convey ideas succinctly. Many times it’s the simplest composition that’s the most effective. Always have a reason for every stroke you make, for every light source, and for every composition decision. 04. Create ‘arrows’ to guide the eye Forgotten refuge: Guiding the viewers' eye is essential to film story tellingIt’s important to guide the eye through your composition, and planning the focal points carefully will control the image and compositional elements. A great, simple way to manage this is by breaking down each element into 'arrows'. Think of each brush stroke and texture you add as a line; use the momentum of the shape to carry focus from one object to another, so that they’re linked in a subtle visual way. This can work for any design element, from a shape on a wall, to a character’s shadow, to mist that’s diffusing a scene. Try to guide the eye through several focal points in the image – a main statement followed by supporting focal points. See step 8 for more on this. 05. Consider variations, and how to show them Bistan Gun Designs: Make sure you show the extent of your skillsMost concept artists employed in the industry create variations during their design process, and studios want to hire junior artists who have the same approach. When given a single idea – for instance, an architectural structure – visualise eight different possibilities, each based on the same cultural inspiration and materials. It’s the form and aesthetic that should vary throughout each design, though the theme remains the same. 06. Specialise from the start Stilt House: Become a niche artist to attract the work you wantIn my experience it's easier to break into the industry by specialising in one category, rather than pursuing multiple skillsets. This is not the same as a genre – sci-fi, fantasy, historical, say – rather, it’s focusing your effort on one subject like environments, props, creatures or costumes. Choosing one of these means you can devote more time to mastering that individual craft rather than spreading yourself too thin, which means achieving less but in more categories. Art directors generally choose a “specialist” they have confidence in over a jack-of-all-trades. Selling yourself as the perfect person for a specific type of job reaps rewards. You can always explore other categories later. 07. Push yourself Somnapod: Never get comfortable, keep pushing your skills at every opportunityThis industry is always evolving along with its technology, and as a result, everyone in the field must adapt or risk being left behind. A concept artist who's pushing to learn and grow will be an obvious choice over one who stagnates. It’s tempting to slow down once you get the job you’ve worked hard for. But it’s also important to confront – and learn from – new challenges as you go. This could mean trying a new approach to design once in a while or learning a new program. It could mean taking an extra class on the side. Every person has a different end goal, but the point is to not lose your drive or passion after success. Next page: 7 more tips on becoming a successful film concept artist 08. Use the 'arrows' technique Guide the eye within a composition by making significant choices and establishing a hierarchy of shapesA. Use meaningful shapes Make sure when setting up your composition to place meaningful shapes. Think of lighting as revealing areas in your canvas where you want people to focus. Generally at this point it’s good to think in the abstract. Instead of thinking of the actual object (say, a person), think of it as a shape, and try to create contrast in form where you want people to look. B. Add arrows During the first refinement stage I start adding the arrows we discussed earlier. Here, the concentric rings around the entrance function as a circular arrow, supported by the background rings in the landscape. I add more figures that are centred around my focal point, all looking towards where the action is taking place. I try to reinforce multiple focal points. C. Simplify and refine The last step is just reinforcing the statements from our earlier composition. The great part about setting up your composition beforehand is that it acts as a guide to the rest of your image. The goal is to solve as many problems as you can early on, so when you come to your refinement passes, you're simplifying and rendering rather than changing your canvas. 09. Target pre production vs post production Wobani: Where do you want to be? Working in the initial concepts or on the film itself?There are many phases in a film’s production, and a concept artist has a particular role in each. Some artists are hired even before funding is in place, pitching concepts to investors just as the movie is conceived. When pre-production for a film starts, most of the work is blue sky, meaning it’s focused on exploration and finding the visual style of the film. This is the most open-ended phase of a film, during which time artists usually have more freedom to illustrate their own ideas. As pre-production comes to a close, the creative ideas in a film are resolved. Post-production takes place after principle photography has been completed, when the majority of the film has been shot on camera. In this phase concept artists usually deal with shot replacement, shot extensions, visual effects, and assisting animation and other departments to finalise the CG shots. Often, studios will hire vendors and VFX companies – such as ILM, MPC and Weta Digital – to assist with these shots; with larger-budget films, the amount of vendors required on a film will increase, with CG-heavy films having a multitude of companies involved. While visual development occurs in both sections of a production, generally speaking more development takes place during the earlier phases of the project. 10. Learn about VR Water Tower Callouts: VR is changing the way films are madeVirtual reality is a game-changing technology that’s having a big impact on the industry. Designing in a virtual space has become more popular in film production: set designers construct 3D models of the actual stage, then use real-time simulations that enable the director and crew to move around the scene. This makes conceiving shots and locations easier and faster, sometimes designing sets without any plates or real-world locations. Learning how to design in a virtual set is becoming more important, and a concept artist can offer much more to a team when they can work with this technology. Being fluent in a 3D modelling package is a must when it comes to this kind of work. For a bit of VR inspiration, why not immerse yourself in these VR podcasts? 11. Consider working for a VFX company versus working on-set The Brothers: Being on-set can be preferable if you prefer a wider range of tasksJust as there are differences in production, there are major variations between working within an outsourcing or VFX company versus an on-set art department. When you're working off-site on films, say for a VFX firm or visual development outsourcer, you're surrounded with an extra layer of colleagues, art directors and leads who can help you grow as an artist. Many companies will have artists on several projects at once, which will be very exciting on the creative side as you're switching between many types of design. In contrast, working in an on-set art department brings you closer to the production. You'll interact with the production designer and sometimes the director as well, depending on the project. In a physical art department you work with many more disciplines, with set designers, graphic designers, and the on-stage crew. Based on how long your contract is you might even see the film develop from start to finish. In my experience, you get to try out a wider variety of design in terms of tasks, even though this will normally be governed by your particular speciality. 12. Know your union City of Wind: Make sure to join a union to ensure workEven after you have the portfolio ready, after you know you have the workflow down, many artists still have trouble getting their first gig. If we're talking big productions, getting that first job might be tough, and I recommend approaching either a VFX company or looking for smaller, independent films. If you're hoping to work on big-budget films in the US, specifically in Los Angeles, then there's a film guild/union (IATSE Local 800) that you're required to join before you can work on any major motion picture. There are several ways of gaining admittance: you can get accepted through working a full 30 days on a union project, then submitting an application; a production designer can also sponsor you if they want you on a production; and there's a grandfather clause stipulating that if a show you're working on gets unionised, you can apply for union membership during the transition. That said, it's still hard to get in the guild, and many companies will keep workers on for 29 days, and not sponsor them at all. In the end, being part of the Local 800 union is a huge help to artists working within it, guaranteeing great rates, and providing healthcare. 13. Be sure to network, help others Ruins: Social media can be a brilliant way to get your art seenThe industry is expanding at an exponential rate, and social media is a great platform to get your work out there. Many companies are looking for professionals, but lack the ability to find the right creatives for the job. I recommend promoting your work as early as possible. The internet has a way of compounding search results and information to a point where it'll always assist you down the road. If you ever have an excess of freelance work or clients, recommend colleagues who will appreciate the gesture – and return it one day. 14. Collaborate within the department ARK Tower: Remember, films are a collaborative ventureFilms don't get made without constant collaboration between the artists on your team and also with many other departments. Because of this, personality is a huge factor in the hiring process, and many times I've seen candidates whose work is incredible get passed up because they have a reputation for being difficult to work with. No matter how skilled you are, be humble about your work, always respond well to critique, learn from those around you, and be generous in helping others. Your attitude will go a very long way in this small industry, where you regularly reunite with past colleagues. Remember, they could be hiring you some day. Related articles: 15 concept art skills to power up your illustration Concept design tips for artists How to press start on your game art career View the full article

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Weak cryptography in the IEEE P1735 electronics standard allow attackers to recover valuable intellectual property in plaintext from SoCs and integrated circuits. View the full article