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Creating a 'viral campaign' may be a common client request, but it's rarely that simple – especially if that's the primary goal from the outset, and it ends up feeling forced and desperate. In short, people share infectious content with friends and family because they want to – not because you want them to. An image or piece of content may go viral when you least expect it, because it captures people's imagination or sense or humour at a given point in time, or stirs the kind of universal debate that can spread globally very quickly. Read on to discover nine lessons that can be learned from some of the most popular viral images of recent years, to help you use images more effectively in social campaigns for your clients... 01. Tricks of perspective can be hilarious Ride 'em, cowboy! Simple tricks of the eye make great virals Sometimes serendipity comes into play, and a perfectly unassuming, above-board holiday snap can be transformed into a shareable sensation. There are so many double-take perspective tricks amongst the world's most popular viral images, ranging from the lewd to the quite surreal. This particular example – in which a thoughtful-looking man reclining on a bench, hand on hip, is transformed effortlessly into a vertically-challenged cowboy riding on a woman's back – is all down to a perfectly placed black strip on her top. What can we learn from this? That tricks of perspective, and particularly those that require a double- or even triple-take, are infectiously shareable. But they're not always planned, and are usually funnier when they're not. 02. Everyone loves to challenge their friends Can you spot the mobile phone? Infuriating, isn't it... Another incredibly shareable type of viral image is the brain-teasing challenge, which often manifests itself in a 'can you spot?' format. The example above – in which a mobile phone in a dark, flowery case is artfully placed onto a very similarly patterned carpet – certainly proves the point. The lesson here is that optical illusions, particularly those that are infuriatingly challenging, get shared – and the chat between those smug few who solve it quickly, and the frustrated many who don't, keeps things going. 03. Animals with human emotions are addictive Grumpy Cat, one of the preeminent cat-based memes Who would have predicted that animals, and particularly cats, would mix so well with the internet? Thousands of memes later, the point has been proven. Grumpy Cat is nothing short of an internet phenomenon, who shares a manager – Ben Lashes – with fellow feline sensations/annoyances Keyboard Cat and Nyan Cat. There's got to be a lesson in there, surely? One thing's for sure: anthropomorphic animals, particularly if they pair well with cute or snarky memes, spread like wildfire. But that sweet spot isn't easy to find, and it's crowded out there. 04. Sometimes a facial expression changes everything The smile that launched a thousand memes: Disaster Girl A photo of a building on fire is shocking, and newsworthy, in itself – but it's unlikely to go viral in and of itself, especially if it's a small fire that's seemingly under control, with the fire brigade doing their jobs. With a child in the foreground, that same shot may be transformed, depending on the context. It could become life-affirming, tragic, or heroic. But the subtlest change of facial expression could make all the difference. The young girl in the shot above has such a knowing, calculating, mischievous smile in the moment the photo was captured, that the whole tone of the image changes. Ironic twists, unexpected flashes of meaning and dark humour can make an image so much more shareable. 'Disaster Girl' became a meme, juxtaposed with famous tragedies the world over with her devilish grin. 05. Photobombs are a lot funnier with animals Being photobombed by a friendly manta ray is viral gold Rather like the tricks of perspective in lesson one, photobombs are always funnier and more shareable when they happen accidentally. With a few exceptions, no one wants to share a snap of someone deliberately sabotaging a shot with a goofy grin on their face – depending on who's doing the photobombing of course; celebrities are a different story. If your photobomber is an animal, you find yourself with the best bits of lessons one and three. Take the example above, where the hilariously human-looking face on a playful mantra ray, peeking over the shoulders of three terrified holidaymakers, makes the shot something truly special. The lesson here: look for natural, spontaneous and authentic humour to be found in totally random encounters, and treat anything that combines two or more of the lessons on this list like gold dust. 06. A single image can represent a powerful movement "Four more years" – the image of the Obamas embracing that nearly broke the internet When it comes to political campaigns, images are often designed to be persuasive – and in extreme cases, are little more than manipulative propaganda. A viral image with political roots is often shared to argue an overt point, or reinforce an ideology, rather than just because people enjoy it. So the fact that one of the most successful 'political' virals of all time depicts Barack and Michelle Obama sharing a loving embrace is all the more impressive. Circulated after it was beyond doubt that Obama had won "four more years", the image is filled with love, pride, determination and relief in equal measure – and it nearly broke the internet. The web is notoriously snarky and tends to favour dark humour and playfulness over sentimentality in viral images – but when there's enough groundswell behind a movement, something beautifully simple and authentic can be all it takes. 07. Anything that divides public opinion is sharable Blue and black, or white and gold? #TheDress Before 'Laurel or Yanny' there was The Dress, and it proved just how much attention can be drummed up by anything that splits public opinion down the middle. The fairly crude, lo-res snapshot at the heart of #TheDress phenomenon was originally posted on Tumblr by Caitlin McNeill, after she noticed how her friends saw different colours: either blue and black, or white and gold. Rather like lesson two, where the challenge to solve a near-impossible brainteaser is too great to resist, the notion that your own brain's perception will either put you in one camp or another is infectious. Once the A-Listers started getting involved – from Kim and Kanye to Taylor Swift – the image's viral credentials were well and truly cemented. 08. Visual illusions are hugely compelling Both of these images are the same colour? Mind. Blown. Hot on the heels of #TheDress came this similarly baffling visual illusion, which hooked you in with this confounding premise: both are the same colour. However, this time the viral nature of the image was fabricated, rather than relying on the varying colour perception of the human eye. Thanks, Photoshop. Twitter users were invited to click on the light pink image (left) to enlarge it, only for it to transform into a rich shade of burgundy (right). The trick? The image is semi-transparent, so a white or black background totally transforms its overall look. Play it right, and a smoke-and-mirrors, man-made optical illusion can be every bit as effective as a natural one. And people will share it in their thousands. 09. Don't underestimate simple visual wit Sometimes, simple is best We'll leave you with this ninth and final image, which above all else shows the power of simple visual wit to help an image go viral. Ostensibly just a snap of a rotund sunbather on the beach, the fact that his portly silhouette is perfectly echoed by the landscape behind makes it a keeper. Related articles: The designer's guide to using images more effectively How to create a killer social media campaign 4 on-trend illustration styles for your next project View the full article

There are a number of reasons why you might opt for a Huion tablet over a drawing tablet from Wacom or another maker – primarily the great drawing experience and more affordable price. Huion is a well-known brand in the graphics tablet space, with a reputation for responsive, reliable and solidly built devices. Huion tablets are also dramatically cheaper than Wacom drawing tablets, giving you fantastic value for money. There are a few different options out there, so to help you choose the right one, we’ve gathered together our pick of the best Huion drawing tablets you can buy. The Huion H610 Pro is a brilliant graphics tablet and our choice of the best overall Huion drawing tablet. It's a brilliantly versatile device, with plenty of features, though it doesn't quite have all the functionality that more expensive drawing tablets offer. For beginners, however, this is a brilliant option to get started with – especially at this price. The Huion 1060 Plus is an excellent drawing tablet if you're looking to get serious with your digital art but you're not able to splash loads of cash. It offer a great balance of responsiveness and features, while keeping the price low. It's not quite as accomplished as Wacom's finest – but it is much cheaper. The Huion H640P is a brilliant cheap Huion tablet, offering a great drawing experience and a set of shortcut keys for a very reasonable price. It's small and compact, which makes it easy to carry around with you as well – it measures just 10.2 x 5.8 inches and is no thicker than a smartphone. If you're looking for a large Huion drawing tablet, then the Huion Inspiroy Q11K Wireless is worth considering. It boasts a massive 13-inch diagonal size, and it's also wireless, which gives you more freedom if you don't want to be tethered to your computer. Build quality can feels a little cheap, but this is an excellent value Huion tablet that's worth checking out. If you’re just starting out with digital art, then it's understandable if you're wary of spending a lot of money. That's exactly why the H430P is the best Huion tablet for beginners: it gives you all the basics you need to get started, but without a high price tag. It's a little on the small size, but it's a great – and affordable – way to get started. Related articles: The best cheap Wacom tablet deals 2018 The best drawing tablet The best drawing tablet for kids View the full article

CSS and JavaScript are the key powers behind animation on the web. Together, and apart, they can produce stunning and impressive dynamic designs that will work across all browsers. Here we have put together a collection that will give you everything you need to start animating for the web today. 01. KUTE.js KUTE.js is a JavaScript animation framework, built with fast code execution and memory efficiency in mind. With everything from two and three dimensional transforms to SVG manipulation, KUTE.js is a strong contender for creating simple and lightweight animations. 02. Anime.js Anime.js is a JavaScript animation library packed full of features. The library is performant and produces beautiful, seamless animations. There’s detailed documentation on the website and a variety of demos produced by the developer Julian Garnier on his CodePen. 03. Blotter Create unconventional text effects with this JavaScript API Blotter is a JavaScript API for drawing unconventional text effects. Powered by three.js and underscore.js it is capable of producing some weird and wonderful animated text effects. The library offers five different material effects all of which can be customised. 04. Animate.css Animate.css is a small library of CSS animations, which can be used to add subtle (or not so subtle in some cases) animations to elements in your page. All you need to do is include the Animate.css code and then use the classes provided to animate elements in your application. 05. three.js three.js is a 3D animation library built for the web. three.js works by creating a three-dimensional scene in which objects are rendered, a camera is then placed inside this scene. Some of the best animated websites on the web utilise three.js. 06. Spirit Spirit shows results in real-time Spirit is a web animation timeline GUI currently in beta. The interface is intuitive and simple to use enabling you to make changes or additions and see the results in the browser in real time. Spirit could be a real game changer for web animation! 07. GSAP GSAP is a powerhouse when it comes to web animation. Starting life as a Flash animation plugin, it has since evolved to be one of the best web animation libraries available, enabling complex animations and time-based functions to be easily authored. Learn more about the power of CSS animation Generate London 2018. Be there We all know about the power of CSS transitions, we use them day in and day out to animate the state of a button or link; but CSS is capable of so much more when it comes to animation, especially when paired with SVG, and it’s about time we started utilising it. Get your ticket for Generate London 2018 and hear Steven Roberts reveal the best tools for recreating some of the best animations the web has to offer. Related articles: Create storyboards for web animations Web animation: No code required How to debug web animations View the full article

The world of web design never stands still, with innovations constantly spicing up what's possible online (we're currently getting excited by the opportunities presented by variable fonts). But while we've been excited by some web design tools that are still in their infancy, practices that have been around for a while are also finding new leases of life. To give you a taste of how designers are finding creative ways to make the web a more enjoyable place to be, we've rounded up 5 sensational new sites that are sure to inspire you. These are all platforms that are shaking up the status quo, as well as proving to be useful and informative. 01. WWF Australia Stunning and informative – this site is a must-visit WWF Australia boasts a website worthy of its reputation. Celebrating wildlife and nature, the bold, colourful site invites users to become completely immersed in the natural world. Vibrant images showcase the beauty of amazing wildlife, and invite users to learn about different species. Videos enable visitors to understand the links between modern behaviours and the damage to some of the world’s most beautiful habitats. The website also sheds light on conditions of those working within the natural world. One video in particular opened our eyes to illegal fishing practices. We learnt about how common illegal, unregulated fishing vessels are and or how the food we eat may have been sourced through one of these practices. As we begin to gain awareness of the issues surrounding the world we live in, it’s great to see an organisation using its website to educate the public. 02. Sundae Sundae helps creators and brands collaborate The variety of websites and services available for recruitment today is extraordinary. However, in the creative sectors where freelancing is widespread, it can be difficult to find opportunities that enable you to pursue your interests and passions with other like-minded folk. Sundae is a platform that aims to enable creators to collaborate with brands and other makers to bring ideas to life. Whether you’re a choreographer, chef, mixologist, filmmaker, illustrator, coder or blogger, if you create, then this hub is for you. The concept itself is great, and the website quite simply makes you want to become part of a vibrant, creative community. The homepage video is a celebration of all things creative, and communicates the vast range of talent and possibility available within the creative industries. You’re invited to share details of what you care about, including issues such as education, equality, sustainability and health, in order for Sundae to connect you with the most suitable collaborators. As if that wasn’t enough, Sundae’s service also makes it possible for creators to connect with brands that share similar values. Sundae positions itself as a place ‘where creators and brands mix to make positive impact’. At a time where global issues are at the forefront of our minds, this is a fantastic opportunity for people in the creative industries to work together to drive positivity and change where it matters the most. 03. Fonterra: From here to anywhere Give this website (and globe) a spin Fonterra created a 3D experience using WebGL, to show how New Zealand dairy innovation has improved health and nutrition around the world. Visitors can explore the world by spinning and clicking the globe, to fully understand the ‘everywhere’ nature of Kiwi dairy innovation. It’s slick, easy to navigate, and most importantly, provides users with an interesting way of understanding more about global distribution. As well as providing a unique and creative way of engaging users, I think it’s a brilliant way to educate students and young people about the global economy. The UX is the best element of this platform. Giving users the choice of which countries to explore makes the experience more memorable. It’s grabbable, spinnable and zoomable – everything you need for a fully immersive experience. 04. Bitter Renter The rent is too damn high! The journey from teenager to adulthood is a rollercoaster of emotions. Before you know it, it’s time to start looking for your own place. It’s an exciting time, gaining independence and imagining all the fun you can have without anyone to nag you to clean up after yourself. But where do you start? Which area of your favourite city can you realistically afford to live in? Do you need to consider sharing for a while? There are so many questions in the minds of young property hunters. Luckily, for those in New York City, there’s a platform that takes the hassle out of the process. Bitter Renter is an interactive guide built by a New Yorker who had experienced the disheartening nature of apartment hunting in the city, from broker’s fees to surprise last-minute increases in rent. With a clean, user-friendly interface, the step-by-step guide carries the user through each stage of finding the ideal apartment. From starting at the very beginning at eligibility and sublet options, to working out your budget and finding a neighbourhood, narrowing down your options couldn’t be easier. You’re even invited to enter your expenses for consideration, to ensure the suggestions are as realistic as possible. An ‘Application Checklist’ is also provided, along with a list of property terms that are worth knowing. By the time you’re finished, you’re armed with an impressive selection of knowledge to impress any property manager or broker. We think this is a real gem in the world of renting, and hope something similar appears in the UK. 05. Essentially Geared Wine Co This entertaining site makes a great first impression Personality is one of the things you remember most prominently when you first meet someone, and it’s similar when you visit a website for the first time. The site for Essentially Geared Wine Co. makes a great first impression, using vibrant colours, bold fonts and videos to engage its audience within seconds of entering the site. The brand leverages its site to be the key communicator of its ethos: ‘We’re inspired by Mother Nature’. Packaging the wine in sustainable cans, Essentially Geared Wine Co. carries its ‘no fuss’ ethos through the site, implementing beautifully shot videos featuring people enjoying outdoor activities, quality time with friends or family, and the beauty of nature. A light-hearted and humorous persona is also evident through the way it recommends food pairings for the wines. Unlike many brands who might automatically attempt to name the most expensive-sounding dish on the planet, the suggestions appeal to the down-to-earth, unpretentious nature of the product and brand values. California Sauvignon Blanc with corn dogs? Okay! What’s most enjoyable about this website is how relaxed the experience makes you feel. Slow-motion videos with low saturation offer an almost nostalgic sense of longing for the simple pleasures life has to offer. The brand’s strapline – ‘Crafted to keep up with your everyday adventures’ – couldn’t be better illustrated. The selection of beautifully shot videos enable visitors to view how perfectly this product would fit into that idyllic lifestyle. This article was originally published in issue 305 of net, the world's best-selling magazine for web designers and developers. Buy issue 305 here or subscribe here. Related articles: The web designer starter toolkit Beware the cutting edge of web design The future of web design is code-free View the full article

Neville Brody has launched a new type foundry, Brody Fonts. The venture is a partnership between Brody Associates and TypeNetwork. So far, there are two fonts available: BF Buffalo and BF Bonn. Brody Fonts promises new typefaces designed by Brody himself and other associates at his design studio. However, it will also offer updated versions of retro fonts from Brody's design portfolio. "The foundry... will revisit key moments in Brody’s typographic legacy, re-engineering, enhancing, and expanding some iconic font families for contemporary use" announces a blurb on the foundry's site. BF Bonn is a sharp, geometric sans-serif One such resurrected font is BF Bonn, Brody Fonts' first release. BF Bonn first appeared in 1991 on the signage and branding for exhibition hall Bonn Ausstellungshalle, which was itself inspired by Brody’s earlier work for Austrian national broadcaster ORF. The foundry describes this a sharp, open, geometric typeface, as "a 20th century sans-serif for the 21st century". BF Buffalo is described as 'streetwise and gritty' Type fans can also pick up BF Buffalo. This was initially created for a special issue of Arena Homme Plus, dedicated to 80s fashion designer Ray Petri and his group of stylists, creatives, musicians and photographers. Later it was adapted for London's Anti-Design Festival. The font comes in seven different weights, and the foundry describes it as "streetwise and gritty". The font was originally used for London's Anti-Design Festival To find out more, and pick up either of the two new typefaces for yourself, take a look at the Brody Fonts site. Read more: Define a brand with handmade type Adobe and Erik Spiekermann revive lost type sets How to design a handwriting font that isn't boring View the full article

What designers say and what they mean are sometimes two very different things. Let's say you sit down for a meeting with a client. Fresh coffee, snappy small talk. The conversation flows. No awkward silences. You crack a joke or two. Then the mood in the meeting room suddenly shifts … The best free fonts for designers The client clears their throat, fidgets in their seat, and stirs their coffee continuously even though they take it black and without sugar. The client has this look on their face, a look you've seen on the faces of many clients over the years. Here we go, you think. Here it comes. The client says: "About your quote…" This shit doesn’t just happen! Craig Oldham "What we probably all say," Craig Oldham says, "is this quote is an amalgamation of our time to create the work, manage it, come to meetings, feed back on it, produce it, and of course we have to factor in studio running costs as part of the fees as standard practice. There’s a lot to consider alongside just time taken." Oldham's new book, OH SH*T WHAT NOW?!, offers honest advice for new graphic designers. But when it comes to clients, you can be too honest. The Manchester designer says, "What we all mean: this shit doesn’t just happen!" "We may not be suitable for your requirements" Talking about money is always tricky. Mark Richardson – aka Superfried – recently created the branding for the Shark Conservation and Elephant Crisis funds – two animal preservation projects started by the Leonardo DiCaprio Foundation. Richardson generally likes to talk straight. But he might say to clients: "Unfortunately I tend to develop complete brand identities rather than just logos, so we may not be suitable for your requirements." What Richardson really means is: "Your budget is completely insufficient!" David Airey adopts a rule of complete honesty with clients. This is his rebrand for Wine Trading Company David Airey recently rebranded Wine Trading Company with a monogram based on the chemical formula for alcohol in its simplest form. The Northern Irish designer prefers to be 100 per cent honest with clients. It can save unnecessary hassle later. "If you disagree with clients, or if there’s something in a project you’re uneasy about, you need to be clear with those you’re working with – for the client’s sake, and your own." Caz Hildebrand agrees: "In our experience, honesty is generally the best policy." Hildebrand is creative partner at Here. The London studio designed the new brand identity for family caterers Rocket. The result is a riff on the rocket leaf symbol format of the company's previous identity. Here – the studio behind this new look for Rocket – is used to dealing with contrary clients "Some clients are quite contrary and will ask you for your preferred design and then choose a different option, but I have found that as long as you can genuinely get behind all the work you present to clients, it is easy to be honest and clear about what you think." That doesn't mean clients can't contribute: "If they make a suggestion that will improve a design," Hildebrand says, "then it's important to acknowledge that and act on it. But if they are asking you to incorporate something that doesn't really fit with a design then it is always good to be clear about why you don’t agree. As long as you can make a compelling case for your reasons, things generally go right in the end." "We can fix that!" Honesty isn't always the best policy, especially during the early stages: "Normally," Marta Yarza says, "when we have the first meeting with a client, we tell them that their current brand is not that bad, but that we should do a complete twist on it." Yarza Twins worked with HP and Smirnoff to create these limited edition bottles Yarza is creative director at Yarza Twins. This doesn't happen every time. The London studio has worked with brands that are already look pretty cool. Yarza Twins recently collaborated with HP and Smirnoff to create a limited edition bottle. The concept was diversity. Each bottle they designed is unique because of a HP plugin that easily allowed Yarza Twins to create millions of variations of 21 character designs. But when Yarza talks about a "complete twist", what she means is: "it's really shit and that they really need help… but obviously, we don't want to offend them or make them feel bad." When presented with challenges – such as how to brand Pallafour – NotOnSunday responds with confidence, then figures out the solution later NotOnSunday founder Mike Willows might say to a client: "We can fix that." The London studio created the identity and branding for outdoors apparel company Pallafour. The work was 'inspired by the great outdoors and designed for those who love to explore and lose themselves.' When Willows says they can "fix it" he might really be thinking: "We're not quite sure how we'll fix it just yet, but we love a challenge!" "Your current brand presents some opportunities" Sometimes, you need to take something negative and spin it into something positive. Fredrik Öst finds himself saying: "Your current visual identity has some challenges but it also has opportunities." Öst is founder and creative director of Snask. He means: "Fuck everything you have and let’s do a full remake." Snask had to be polite about the original branding for GET RAW Take the work Snask did for health bar GET RAW. "They contacted us and asked us to do a full rebrand to modernise their visual identity and tone of voice," Öst says. "They used to look horrible." The client is always right. But sometimes they need your help getting there. "It’s not about what we like or dislike," Sagi Haviv says to his clients. "It’s about what works." Chermayeff & Geismar & Haviv – the studio behind the recent US Open rebrand – warns against putting too much stock in initial reactions Haviv is a partner at Chermayeff & Geismar & Haviv. The New York design firm recently rebranded the US Open, one of tennis's four biggest tournaments, a year event viewed by millions round the world. He says clients sometimes make choices based "irrational, subjective preferences." When this happens, Haviv tries to "redirect" the conversation. "Our experience is that the initial feelings and reactions about visual identity designs are meaningless because we are trying to establish something that can endure for many years and has the potential to become iconic." Read more: 5 design student stereotypes to avoid 10 indie mags you should read this summer 8 great creative hobbies to start in 2018 View the full article

Thanks to advances in technology and social attitudes, office dynamics have changed drastically over the years. We've come a long way since the days of employees hammering away on typewriters fuelled by cigarettes and alcohol, as this infographic from Hubble reveals. 13 incredible tools for creating infographics The Office Space Timeline is one of the best infographics we've seen when it comes to illustrating changes in the world of office work. Tracing the development of office spaces since the 1950s, this infographic is packed with sobering stats about employment ratios and wage gaps. By studying the history of office culture and speaking to expert futurists, the team at Hubble were also able to predict where office spaces are heading in the near future and beyond. Could we see an increased level of automation and a more balanced landscape in terms of gender pay and opportunity? Here's hoping. Check out the infographic below to see where we've been, and where we're hopefully heading (though we're not totally convinced by the 'body suits'). Click the magnifying glass in the top right to see the full size infographic If this infographic has piqued your interest, be sure to head over to the Hubble blog, where there are even more office insights to enjoy. You'll find more in-depth analysis of social and political issues surrounding the development of office culture, including a look at the development of the office cubicle and how attitudes to dress code have relaxed over the decades. Related articles: The best office chair of 2018 22 incredibly cool design office murals The five best desks in 2018 for your home office or studio View the full article

Animation is a powerful storytelling tool, as Pixar and Dreamworks have shown time and time again. And you can wield that same power for your business with the Animatron Studio Pro Plan. This platform gives you tools to create one-of-a-kind animations, graphics, and videos that your audience will love. And best of all, you don't need an ounce of coding experience in order to use it. Whether you need to create banners for your website, explainer videos for your clients, or put together visual presentations, Animatron Studio Pro Plan could really come in handy. The intuitive platform enables you to import and edit your own content, while splicing and annotating everything right in the software, making it a breeze for even total beginners to use. Get a lifetime subscription for just $49.99. Related articles: Create storyboards for web animations The dos and don'ts of animation showreels Explore the new frontier of CSS animation View the full article

Improve your manga skills and learn how to get your work seen with the latest issue of ImagineFX magazine – on sale today. Inside issue 163 you'll discover how to channel the style of a seminal manga classic, create better manga characters, and embellish your work in Photoshop. Buy issue 163 of ImagineFX here Elsewhere in issue 163, expert artists share how to use 3D bases as the foundation of a digital illustration. We also look at how you can improve an old piece of work once you've picked up new artistic skills. On top of this, we review the latest digital art training tools and take a look at the inspirational art books you need to get your nose stuck into. Never miss an issue: Subscribe to ImagineFX here Explore what's on offer by taking a peek at the lead features, below. Progress your manga art career Discover how social media could kick start your career Manga continues to be a popular medium for artists around the world, but with so many people turning to the style, how can anyone expect to get ahead in the industry? We talk to manga superstars to learn how they got their work out there and built a career – and how you can too. Channel the spirit of Akira Get influenced by the famous film Even those with fleeting knowledge of manga and anime will be aware of Akira. The landmark film has had a lasting effect both on cinema and artists. In this workshop we learn how to evoke the bold and lurid style of the film in terms of character design, vehicle design and colour. Illustrate with a 3D base 3D and VR came together to make this proud queen Worrying about anatomy and lighting can dramatically slow down an artist as they work. This stunning queen was created in less then a day with the help of a 3D base and VR tools. We explore how it was made and how you can benefit from these time-saving tools that don't cut corners. Create an original manga character Not as innocent as she appears Don't be deceived! This character and pose might appear simple, but there's a lot going on beneath the surface. In this character design workshop we learn how to get the most out of Copic markers and facial expressions to create someone you don't want to mess with. Learn watercolour brush techniques Get the most out of your watercolour brushes In the second part of our core skills workshop, Kelly McKernan takes us through how to use watercolour brushes to full effect. Covering everything from brush types to storage tips, this workshop is sure to tighten up your style and give you greater control over the medium. Related articles: How to create an authentic manga comic strip How to colour your manga art like a pro How to draw manga characters View the full article

You're reading Free and Beautifully-Designed Resume Templates, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! Resume design matters. If you want to stand out from the competition, you need to take it seriously. It is not just a sheet of paper with your knowledge, skills and experience. It is a real presentation tool that should … View the full article

I recently returned from another successful FS-ISAC Spring summit where I shared our thoughts on the current state of software vulnerabilities with the advisory board, comprised of about 200 people. We put together dedicated and exclusive analysis from our Secunia Research, and mixed it with some highlights from our Annual … Source View the full article

Inspired by Jonathan Swift’s Gulliver’s Travels, American screenwriter and producer Gene Roddenberry sought to explore intellectual themes within suspenseful spacefaring adventures with Star Trek. A cultural phenomenon was born, consisting of seven television series and 13 feature films spanning 52 years. The latest small-screen incarnation is Star Trek: Discovery. Maya tutorials to sharpen your skills In this article, we board the USS Discovery to learn about the visual effects and 3D art expertise needed to envision a universe consisting of Klingons, alternative realities and holodecks. Discovery takes place a decade before the original TV show with the primary objective being to honour the legacy of the franchise. “I thought this was a great opportunity, but also daunting,” notes production visual effects supervisor Jason Zimmerman (Sleepy Hollow), who looked after the creation of just under 5,000 shots and received a VES Award nomination for the pilot episode. Pixomondo handled 1,700 VFX shots, with the Toronto facility responsible for 90 per cent of the work while Los Angeles produced the previs, Frankfurt assisted with creatures, and additional support was provided by Stuttgart; the main vendor collaborated alongside Crafty Apes, Ghost VFX and Spin VFX. Pipeline notes “We had to share our Nuke scripts with other companies so had to be careful not to use a lot of our in-house proprietary tools,” states Pixomondo VFX supervisor Mahmoud Rahnama. “Our main 3D package is Maya but for heavy effects stuff we used Houdini, for compositing Nuke and rendering V-Ray.” Shotgun projects were directly linked between Pixomondo and the client. “Jason could see the status of the shots as we were working on them and give notes right away.” Michael Burnham examines a Tardigrade, which was the result of scientific research combined with a cool look Previs was essential in planning shots. “When we have full CG shots there is no other way to articulate,” notes Zimmerman. “You need to give the editors, producers and directors something to look at and say, ‘That doesn’t work.’ Even in cases where there are practical elements, previs is done in advance, so on the day you know what will be shot and how it’s going to be accomplished.” Optimising the workflow was critical in being able to accommodate last-minute episode script rewrites or client notes. “We would quickly model something in low resolution and push it through the pipeline, so at least the director could see the whole space battle with proxy low-resolution geometry and the editors could work with what we had,” states Rahnama. “It was constantly updated by each department so every week you would see the shot in a better state.” The USS Discovery “With the Discovery being the namesake of the show, you know that needs to be a hero model,” says Zimmerman. “With the entire fleet you look at it with an eye to what is this asset going to do, how long is it going to be on camera, and how close are we going to be to it? You have to take into consideration what the story points are and then build to that. That being said, you have to be proactive and make sure that the model is ready in case somebody says, ‘Let’s get closer.’ If something is going to break apart or articulate then you have to do that in advance in order to properly rig the asset to do what it is supposed to do.” Backgrounds were warped and particles were added coming off of the characters when they were teleporting Interior sets were built of the signature Federation starship. “The bridge of the Discovery is what you see,” marvels Rahnama. “Even the Sarcophagus set is massive and beautifully done. Like with any other set we had to extend hallways and ceilings. We did have a digital version of the bridge in case of needing to fly in and out. The Discovery model took a few months to build because we had to make sure every door and hatch worked.” Building new worlds “As for the world building it goes back to the legacy of Star Trek, doing a lot of research, working with the art department, and integrating things based on the lighting in the footage,” notes Zimmerman. “You always start from, ‘What is the story? How long are we going to be there? What are we going to see? What is the scope of the shots?’ A lot of that involves working with the executive producers, the director, and every department to understand what the requirements are. You want to start building worlds and assets concurrently so when you’re putting it into shots you’re not finding what the look is still.” Conceptualising and executing the various alien species was Alchemy Studios, with CEO Glenn Hetrick overseeing the prosthetic and special effects make-up department, and his business partner Neville Page serving as the lead creature designer. “There’s a fine line with freshening something up and not being offensive,” states Page. “My attempt is to always push things further because it’s easier to rein stuff back afterwards.” Star Trek: Discovery was not the first time encountering Klingons for the conceptual artist, who previously worked on Star Trek, Star Trek Into Darkness and Star Trek Beyond. “It gave me the opportunity to be ready in terms of research.” Additional arms were digitally added to the Crepusculan to make it appear more spider-like A new workflow was born from Page being transformed into a horned demon as part of a research and development project with Hetrick, to figure out how to take ZBrush into 3D printing into makeup and the steps required. Benefitting from the reinvented design, creation and execution process were the Klingons. “The 3D prints were done as hard parts and then we would make silicone moulds of them,” explains Hetrick. “Then we would do a clay brush into that mould. The guy sculpting would get the raw forms from the life cast and take the piece with hot clay underneath. They put down the clay and set in the detail like a brow or a neck which was blended into the sculpture.” Revisions were not a problem. “If we wanted something different it was easy for Neville to go back into ZBrush, change those forms, and print out another shell unique for a main character, such as L’Rell or Kol. The upside to this process was we would have these moulds of 3D-printed parts to make clay out of and you didn’t have to use the whole thing. When House of Mo’Kai Klingons were needed we would come up with a new face or a modular adaption because they are covered with tribal scars.” Creating creatures A franchise mainstay are the Andorians. “I took existing features and refined them because that’s what it needs to be sometimes,” says Page. “It’s evolved.” Several different undercoats of paint were utilised to create a realistic blue skin tone. “Light goes through our skin and bounces back to our eyes,” explains Hetrick. “We have a semi-translucent task colour and translucent layers of paint on top of that. Only the last layer has an opacity to it so that light is passing through layers of colour and coming back to the eye. We were using green blues, true blues and almost a grey. We wanted the Andorians to have an ethereal angelical quality to the skin.” The boar-like Tellarites changed into something more elegant. “The originals were a pig face mask,” notes Hetrick. “Then there’s an iteration where it looks like the Boarman created by Stan Winston for The Island of Dr. Moreau. They’re hybrid boar humans that are tough and tribal. The hair was used as a visual cue for what their culture might be, but we kept the tusks and pig nose.” Each of the Great Houses were given a distinct look to reflect the cultural differences amongst the Klingons Starfleet science officer Airiam played by Sara Mitich is a synthetic-human hybrid. “They wanted somebody who was an augmented human with robotic-type features, which is a concept designer’s dream,” states Page. “It’s about sustaining the femininity. Airiam is an evolution of Airam, which is Ai for artificial intelligence and ram for random access memory. Spelt backwards it’s Maria, which is the name of the robot from Metropolis.” The greatest challenge was how to execute a form-fitting, extraordinarily tight makeup that looks like a hard shell. “I had my guys run the entire facial appliance in white silicone,” says Hetrick. “We were able to hide the white edges by having her lips go under the facial appliance that goes right to the edge of her lip.” A digitally created aquatic mammal makes for a surreal moment. “An alien that I loved was loosely called ‘the space whale’ which they bring onto the cargo bay,” reveals Page. “There’s no organic creature that would ever float in space to our knowledge so when that was given to me as a challenge I ate it up. How do I make sense of that and create attributes that make it viable as an alien creature? Everything was figured out about its diet, reproduction propensity and the ability to navigate in space.” Travelling at warp speed A kaleidoscopic folding effect was created for when the Discovery travels at warp speed. “The showrunners and executive producers had that idea well in advance,” explains Zimmerman. “Then we went about figuring out, what does this look like, and how do we make something we can do on a weekly basis? We started with concepts from the art department, worked on a bunch of different ideas, and narrowed it down from there.” USS Enterprise (NCC-1701) encounters USS Discovery, which took several months to build because different areas of the spacecraft are seen in close-ups One of the heaviest visual effects shots was when the de-cloaking Klingon cleave ship slices the USS Europa in half. “We only had a few weeks to finish that sequence and that was part of the Comic-Con trailer as well,” says Rahnama. “Our effects artists came up with a procedural way of creating metal tearing and from that you get sparks, fire and explosions.” Glenn Hetrick is part of the Star Trek loyal fanbase. “The passion for the franchise creates an impetus in the level of design and the physical work that we’re doing on Star Trek: Discovery.” Mission accomplished for Zimmerman. “Every episode has something in there that we’re proud of. It’s such a big show from a historical standpoint in terms of what it means to visual effects and sci-fi. It’s a team effort. All of the departments brought a passion and energy to this that I don’t think I have ever experienced working on a show before. Having an ability to be part of that has been truly an honour.” This article was originally published in 3D World, the world's best-selling magazine for CG artists. Buy issue 234 or subscribe. Read more: Illuminate your 3D work with Dome lights 11 best video game character designs Sculpt realistic anatomy in ZBrush View the full article

World Cup travelers should leave their mobile phones, laptops and tablets behind. View the full article

Love Lost by Canada's Jam3 is a beautifully dark, mobile-ready interactive poem with real heart about the enduring feelings around lost love. Make interactive 3D typography effects Built using HTML5 with the GSAP library powering its animation, one of its most visually striking features is its animated 3D text that really brings Love Lost's poetry to life. It looks impressive as hell, and it's not hard to incorporate into your own work to create an engaging user experience; here's how it's done. Love Lost's 3D text comes right out of the screen at the viewer 01. Initiate the HTML document The first step is to define the structure of the HTML document. This includes the HTML container that initiates the document, which contains the head and body sections. While the head section is primarily used to load the external CSS file, the body section will store the visible page content created in step 2. 02. Visible HTML content The visible HTML content consists of an article container that contains the visible text. The important part of the article container is the 'data-animate' attribute, which will be referenced by the CSS to apply the visual effects. The text inside the article is made from a h1 tag to indicate that the content is the page's main title. 03. CSS initiation Create a new file called 'styles.css'. The first set of instructions set the page's HTML container and body to have a black background, as well as no visible border spacing. White is also set as the default text colour for all child elements on the page to inherit; avoiding the default black colour of text making content appear to be invisible. 04. Animation container The content container referenced with the 'data-animate' attribute has specific styles applied. Its size is set to match the full size of the screen using vw and vh measurement units, as well as being slightly rotated. An animation called 'moveIn' is applied, which will last for a duration of 20 seconds and will repeat infinitely. 05. Animation initiation The 'moveIn' animation referenced in the previous step requires a definition using @keyframes. The first frame starting at 0% of the animation sets the default font size, text positioning and visible shadow. Additionally, the item is set with zero opacity so that it is initially invisible – ie. displayed out of view. 06. Animate into view By using multiple shadows you can enhance the 3D effect The next frame is placed at 10% through the animation. This frame sets the opacity to fully visible, resulting in the text gradually being animated into view. Additionally, multiple shadows are added with blue and decreasing colour values to give the illusions of 3D depth to the text. 07. Finalising the animation The final frames occur at 80% and at the very end of the animation. These are responsible for increasing the font size and moving the element towards the left. New settings are also applied for the text shadow to animate towards, while also fading the text out of view from frames 80% to 100%. This article was originally published in issue 273 of creative web design magazine Web Designer. Buy issue 273 here or subscribe to Web Designer here. Related articles: Create a glowing neon text effect How to debug web animations Create storyboards for web animations View the full article

WordPress is everywhere these days. In fact, it powers around 25 per cent of the world’s top 10 million sites. And for good reason: the platform makes it easy to design and manage your site, and offers an impressive library of WordPress plugins you can use to add functionality. In this WordPress tutorial, we’ll share some conversion rate optimisation (CRO) tips to help you convert as many customers as possible. 01. Don't rely solely on templates Just because you have WordPress themes and templates at your disposal doesn't mean you should rely on cookie-cutter designs. Customers increasingly value an authentic brand personality, and the more digitally versed your consumers are, the harder you have to work to establish your brand’s uniqueness in an attention-grabbing way. Having more granular control over each facet of your landing page will help you with A/B testing later on. Customers value a distinctive brand personality The WordPress Landing Pages plugin offers easily adaptable templates. You can drag-and-drop within its numerous templates to customise each page, and you can also use your own themes and upload your own content. This plugin also offers features that enable you to employ CRO techniques on your site. 02. Keep your goals clear Modern day consumers are constantly bombarded by different offers, from paid search to social media and autoplay videos. As a result, users’ attention spans are shrinking every day. To grab (and hold) their attention, it's vital you make the goal of your page clear and concise. You don't want to bounce users away by flooding your page with too much information. Focus on one clear call to action CRO isn't about bragging about everything awesome your brand does; it's about optimising each page for that specific goal conversion. This will include optimising your calls to action (CTAs) and ensuring you keep the user focused on that specific goal. You want to make the value/benefit of your conversion clear as soon as possible. Don’t use vague words or competing CTAs. Keep your CTA visible at all times, so your user is constantly reminded to convert. You can even use sticky elements to ensure your CTA remains visible regardless of where your user is on the page. 03. Create more landing pages Optimising your CTAs is only the first step in the process. Having one landing page (LP) simply isn't enough to accumulate the amount of data you need to fully understand your customers. Increasing your number of LPs just from 10 to 15 can grow your conversions by 55 per cent. Digital marketers learn from data that comes from seeing where, when, and why users convert. This is why A/B testing is such a vital part of CRO. The more tests you’re running (the more variants you create), the more data you'll have to learn from. 04. Consider different visitors’ intentions Not every user who clicks through to your landing page will be there for the same reason. There will be some who are curious about your service, others who are interested in your brand, and hopefully some will come with an actual intention to convert. Different visitors will have different 'temperatures' of interest You should create page variants for each of these different visitor intents. The 'temperature' of your visitor should determine which variant they see. You can determine their temperature based on which pages on your site they visited before reaching your landing page. Each variant will have different copy and different CTAs. They may even offer different content altogether, or use a whole new design. The point is to personalise their experience as much as possible to where they are in the marketing funnel. 05. Focus on design cues Keep in mind that your designs will have a significant subliminal effect on your user. There are quite a few ways to subtly guide them towards converting. The use of colours, shapes, and even lines can all direct their attention where you want. But keep in mind that these should all be built around your primary content piece for that page and remain consistent with your brand identity. Don't get caught copying some other brand's high-performing page just for conversions. Today's users are smart and they'll catch on to your trickery fast. 06. Make use of animation If you're looking to boost conversions by grabbing the user's attention, there's no better way than through movement. Animation and videos can be strong assets to help you cut through the noise and focus your user on converting. In fact, some studies indicate that using video can boost landing page conversions by up to 80 per cent. Explainer videos can help get customers on board But, as with all content, creating a shoddy, rushed video won't cut it. Don't think that shooting an iPhone explainer video will get you any boost in conversions. Invest some time and resources in your video’s quality. Write a script, shoot with a steadicam, and do some editing, and use graphics or animations to help explain any parts of your video that need it. Read more: How to use animation in mobile apps 19 great parallax scrolling websites 13 best pieces of user testing software View the full article

Want access to thousands of vector designs in one place? A lifetime subscription to StockUnlimited Vector Plan gets you just that – for life. This all-vector graphics content platform allows you to access and use all kinds of stock vector graphics and clip art that are perfect for both commercial and personal use. Whether you want to build a personal blog, create a business newsletter, or send out a promotional email, a subscription to StockUnlimited Vector Plan could come in handy. Plus, unlimited file downloads and thousands of new designs added monthly mean you'll never run out of content. Get it for life for just $34.99. Related articles: 30 top vector art tutorials Create a vector displacement mesh brush The 22 best places to find free vector art online View the full article

Sketching in graphite is a great way to kick off or restart your creative drive. Here we’ve sourced a selection of inspiring pencil drawings that demonstrate the wonderful (and sometimes wacky) art you can produce with a humble pencil. If you're so inspired you want to immediately get some new materials, then don't miss our post on the best pencils. Click the icon in the top-right of each image to enlarge it. 01. Siberian Iris Dave Brasgalla layered up his pencil marks to create this delicate iris This delicate pencil drawing is the work of Dave Brasgalla, an illustrator, graphic designer and concept artist based in Sweden. Brasgalla enjoys using traditional media for his personal projects, and finds coloured pencils a particularly versatile and satisfying medium. For this drawing Brasgalla layered up his pencil marks, leaving only a few areas of paper uncoloured. “I love botanical and floral subjects, and the patterns that are present in the petals of the Siberian iris quickly caught my eye,” he says. “I couldn’t resist buying a bunch of them, with the aim of working on a drawing at home.” 02. Lovebird Pilaf Autistic artist Remrov sees the world in tiny details Remrov is a self-taught artist who creates incredibly realistic pencil drawings, often of animals (although he will draw anything he finds interesting). He has autism, which for him means he sees the whole world in tiny little details. This drawing is of Pilaf, a lovebird Remrov has owned for 17 years. “Pilaf helps me a lot with the challenges I face as an autistic person,” he says. 03. Sorcha James Martin played around with lost and found edges in this life drawing This mesmerising pencil drawing is the work of veteran illustrator and fine artist James Martin. Martin currently teaches illustration at Ringling College of Art and Design in Florida, and in the past has worked as a background artist for Walt Disney Studios and texture and matte painter for DreamWorks Animation. In this life drawing, Martin wanted to play around with the edges of the figure. “Edge control is the most valuable artistic tool to control the viewer’s eye,” he explained in an interview for ImagineFX magazine. “Hard edges draw attention, while soft or lost edges give the eye a place to rest." 04. Poppy Melanie Phillips loves painting pets Melanie Phillips has been a professional pet portrait artist since 1997. She works from her garden studio in Wales, which she shares with her artist husband Nicholas and Tibetan terrier Lily. This pencil drawing was a commissioned portrait of a dog called Poppy. “It’s my job to not only create a drawing that’s pleasing to the eye, but one that captures Poppy and not just any dog,” explains Phillips. Her top tip for creating realistic pencil drawings? “Don’t forget you build up your layers slowly. Starting with a 4B for instance, add each layer gradually instead of using a hard pencil pressure from the outset,” she says. “You’ll find that your drawings have much more depth to them.” 05. Venetian Morning Light Ian Murphy draws inspiration from travelling In this wonderfully atmospheric drawing, artist Ian Murphy uses graphite pencil to explore how light disperses around Venice’s confined waterways. Murphy works mostly in pencil and oil paint, and focuses particularly on architecture, emphasising the layers and textures of the buildings he recreates. To see more of his sketches and his paintings, visit his website. 06. Doughnuts This mouthwatering still life was created by Steven E Hughes Steven E Hughes is an associate professor of illustration at Northern Michigan University. His paintings and illustrations have been featured in many exhibitions and publications, including The New York Times. The research process for this mouthwatering still life piece began with a visit to one of the best doughnut shops in the Upper Peninsula of Michigan: Huron Bakery. “Looking at the contrasts between props guides the still life setup for me. If something is dark, put it against something light, and vice versa. Play pattern against solid areas and look for repetitions to move the eye across the composition.” Hughes also advises photographing your still life from several angles before you start work. “You never know when a hungry kid will run into your studio and grab that carefully positioned doughnut!” he smiles. 07. Gigi Jake Spicer thinks the best portraits are created when you can meet and sketch the model in person This striking portrait was drawn by artist Jake Spicer, a passionate advocate of drawing as a tool for communication and inquiry. This particular portrait was created over two hours, using a combination of photographs of the model, Gigi, and sketches done during an hour-long portrait sitting. “The best portrait drawings aren’t just pictures of faces, but records of a long moment shared between artist and sitter,” he explains. “Whether you are able to ask friends or family to sit for a portrait, or can attend a drawing class with a model, it is always an engaging and exciting experience to draw another person from life.” 08. Estudios internos (Internal studies) This is one of many surreal sketches by Osorno Many of Colombian artist Juan Osorno’s surreal pencil studies depict voided human faces with unusual objects, landscapes or natural phenomena in the place of facial features. You can view the full collection of these abstract sketches on Osorno’s Behance page. 09. Standing Man & Stretch Mike Lee also draws still lifes We just couldn’t pick a favourite from Mike Lee’s superb pencil drawing collection Repose, so we chose two. Lee uses only simple lines and shapes, reducing his subjects to their most basic forms. He has an extensive portfolio of pencil artwork, and you can discover more here. 10. Untitled This sketch is a great example of wonderfully weird pencil art Is it a bird? Is it an eye? Or could it even be a pencil? This weirdly wonderful sketch was created by Danish illustrator Fotini Tikkou, whose Instagram is full of bright and bold illustrations, favouring coloured pencils and gouache. We love the contrast between the foreground image, drawn in solid lines, and the wavy lines of the now-empty cage. 11. Untitled Els Dufourmont is a talented painter Less weird but no less wonderful, our next choice is Belgian artist Els Dufourmount’s untitled sketch of a girl. Combining a close-up focus and bold shading, Dufourmount uses light and dark to add life to the girl’s face. 12. Hands Self Deception is a series of quirky self-portraits Gillian Lambert’s Self Deception series is stunning, and we struggled to chose just one illustration to feature. In the end we went for Hands because we love the simultaneous indifference and exasperation of the subject’s face as it is moulded by the hands.To see the full series, and Lambert’s other work, visit her website. 13. Untitled This piece was composed with watercolour pencil This sketch of a commuter on a train uses watercolour pencil, which we think conveys the artist/commuter relationship brilliantly. It provides enough detail to give the subject an individual face, but detail is deliberately missing. Artist Josu Maroto works in a variety of mediums, and you can explore more of his work here. 14. Self portrait with a cup of tea The blue/orange contrast really makes this image stand out French illustrator Cécile Metzger’s quirky self-portrait is fascinating for its use of colour. The hint of red pattern on the cup immediately attracts the eye, and together with the contrasting blue cup and orange top – opposite colours on the colour wheel – keeps focus away from the girl herself. To see more, check out Metzger's Tumblr. 15. The Least Likely Thing We love the blurred effect of softer graphite Composed using soft and therefore much darker graphite, this sketch by Charlie Mackesy shows how effective blurring can be through two indistinct figures. Mackesy is a master of painting and sculpture, as well as drawing, and you can browse his portfolio here. Related articles: How to draw a face How to hold a pencil properly Use negative space to create water effects in pencil View the full article

Illustration: Jamie Coe There's a myth about working as a freelance designer that it largely comprises lounging around in your pants watching Netflix. And while there may well be the opportunity to plunge into a YouTube vortex without colleagues glimpsing snatches of 'Monkey Riding a Pig' or Father Ted reruns, in reality working for yourself demands the stamina and discipline of a marathon runner. 9 things nobody tells you about going freelance What's more, while your PAYE counterparts can sit back knowing that a payslip will magically appear in their bank account every month, you've not only got to hustle for the work and then do the work, but you even have to fight to get paid for it too. You're on your own. But don't lose focus. Here are 25 tips for staying sane as a freelancer… 01. Run a strict regime Illustration: Jamie Coe With nobody to crack the whip, the biggest hurdles are psychological. The possibility to procrastinate is infinite; but a fridge clean enough to pass the Foods Standards Agency's most rigorous testing and a Pantone-ordered pencil case won't make a blank page any less terrifying, and the post-procrastination guilt can make starting all the more daunting. Knowing yourself is key, as is a strict regime to suit your peak productivity. "I think in the morning, and do in the afternoon," graphic artist Pâté, aka Paul Pateman, explains. "Ideas, colour choices, and so on, I work on in the morning, and then social media, invoicing and PR in the afternoons." Deadlines are essential for Pâté and he even forces them for personal work by contacting shops and galleries before he's finished a piece. "It means you have to do it because the wheels are in motion." 02. Break down tasks Procrastination hits when your available time stretches generously into the distance – something easily overcome by breaking down tasks. When illustrator Stephen Cheetham created 50 illustrations for the NSPCC in a month, he kept on top of the project by engineering false deadlines, policed by Skype feedback sessions every Monday and Thursday with the client. "If there wasn't a schedule or my client didn't want to work like that it could have been quite stressful," says Cheetham. 03. Test a task management app Cheetham's SAS-style regime was aided by a vital hack: a piece of software called Things. A task management app (check out Huddle, Quire too), Things allows you to schedule tasks by project, which it then organises into daily to-do lists. "I recently worked on some packaging for M&S," Cheetham explains. "That project is now done, but I've set a reminder to chase the invoice, to ask for images and to send a mailout once I've received those images." Many of these programs have a free trial period, so you can test which suits your way of working before paying the full fee. "It doesn't allow me time to stop and wander off," adds Cheetham. 04. Hack yourself Illustration: Jamie Coe Bad habits are hard to break, so sometimes self-sabotage is the only way. Downloadable apps like SelfControl block your blacklisted websites even if you restart or delete the app. Similarly Milan-based illustrator Sarah Mazzetti has set up her Chrome browser so that Facebook automatically redirects to the Guardian's homepage. "With the internet and social networks, you can lose control," says Mazzetti. "Facebook is so addictive that sometimes you go to it without even noticing, and at least this way I know when I'm doing it." 05. Restrict social media When updating social media actually is important for your work, it again comes down to structure. "The key with social media is to be efficient," explains illustrator Jitesh Patel. "I set myself just 30 minutes to visit Facebook, Instagram, Pinterest and Twitter. I use software such as Buffer to auto-post to Twitter and Facebook, and I use RSS feed software Feedly to channel all the websites I follow into one place." 06. Allow structured procrastination time If you really can't avoid procrastination, build it into your day – with structured time-slots. "I just can't settle straight away so I have a good hour of faffing time in the morning," says surface pattern designer Esther Cox. But Cox is strict, and tries to make it relevant – in this morning's 'procrastination hour' she researched Parisian rooftops, which was inspiration for a textile commission. 07. The occasional off-day is okay Essentially, productivity is about doing something – anything – rather than struggling. "I try not to beat myself up if I'm not feeling it," explains photographer Jess Bonham. "Ask yourself what you can realistically achieve today before you write it off completely." Rather than plan shoots or concepts, Bonham might spend 'off-days' organising folders on her hard drive, weeding her inspiration folder or filing receipts; tasks that don't need brain energy. 08. Beat creative block With no-one to bounce ideas off, creative block can turn into a maddening affliction that piques Dawson's Creek-level angst. To ease its grip, you need both preventative measures built into your daily routine and crisis management. "I write down 10 ideas a day," says Patel. "Some are serious, which I think might make a good illustration, others are fun and totally pointless. The point is to become an ideas machine, with flowing and constant solutions." 09. Create a routine Routine is also important for Cox: "I draw every day for the sake of it. It helps you explore new ideas without client needs, and it alleviates creative block in the first place." The added bonus is that this creative play can be used as a social media tool. "A lot of my client work I can't share because of contracts," adds Cox. "This way potential clients can still get a feel for my style and it shows I'm busy." 10. Keep going… Illustration: Jamie Coe But when a deadline is imminent, working through it is the only option, says Pâté. "With creative block I just try to make sure I've had an idea by the end of the day, no matter how good (or not) it is," he says. "Make sure it's on a piece of paper, even if it's rubbish. When you go back in the morning, you can pick it apart, and maybe take one element of it forward." The psychological advantage of going to bed with something also means you'll probably sleep better. Next page: 15 more tips for staying sane as a freelancer 11. Know who you can bounce ideas off Illustration: Jamie Coe Working on your own does not mean you're the sole survivor in a post-apocalyptic world. "It's risky but you can also use the art director that you're working with," adds Pâté. Bouncing ideas off the art director of The Washington Post for a recent project meant better results, even though the initial concepts were rejected. "The ideas that I came up with second time round were so much better than the first," he adds. 12. Don't be an island Freelancing can be a lonely business, affecting not just your social wellbeing, but the opportunity to learn from others. Meetups like Yo Illo, Glug, The Big Draw, as well as local exhibitions, will keep you sane and offer informal spaces to delve into how your idols got started, practical portfolio tips and views on different agencies and clients. 13. Try a skill-swap It's a big feat to approach a creative you admire even if it's just to suggest a coffee – the key for confidence is not to go empty handed. "What has worked for me is to skill swap, rather than taking something for nothing," says Patel. When launching a range of tote bags, Patel helped a textile designer he met at designer-maker meetup Crafty Fox with some illustrations in exchange for her thoughts on potential manufacturers and retailers. The result was that both parties benefitted from money-can't-buy expertise. 14. Put on an event yourself The skill swap approach can also be less direct: tempt your heroes to meet you by putting on events so exciting or innovative, they won't want to miss out. 15. Don't overlook the human touch Illustration: Jamie Coe Real-life networking is also essential for winning pitches: take the time to meet someone and you'll come to mind quicker than a name on an email signature. Researching the client, and making sure your portfolio is geared towards their interests is obvious, but it's the human touch that people often overlook, says illustrator Ben Tallon. "Out of fear and respect for a client you don't treat them with the kindnesses you would your friend. If you find out your client has a family, ask about their family. Perhaps they like football or the same band as you. Ask them if they're better if they've been off sick." Tallon's approach has paid off professionally and personally. "I remember going to see Sam Price at The Big Issue when I first started out, and he was like a God to me. I went to his wedding last week!" 16. Follow up on initial meetings After the initial meet, a next day follow-up is crucial, says freelance designer Gordon Reid. "If you meet a creative director at an event and you don't have their email, tweeting them to say thanks is a really good way of keeping in contact. It's likely that they'll add you back, and then six months later, they'll still be looking at your work." 17. Appreciate your followers Networking is not just about clients and collaborators, it's about appreciating followers too. "I have a New York fan with a big Instagram following, and whenever she posts a picture of my work I get another 50 followers," says photographer Jess Bonham. It gets better: "When I went to New York I arranged a meeting with her to chat and say thanks," she adds. "It led to another project for a magazine called Coach." 18. Know how to hustle Illustration: Jamie Coe Sadly the hustle doesn't end once you've done the job – the bane of every freelancer's life is getting paid. "I've sent emails in the past saying: 'Please can you pay me as I need to buy food,' which was true at the time, although it didn't make much difference," sighs Andrew Rae. "Most people get round to it eventually but it can be really annoying and 90-day payment periods seem to be becoming worryingly normal on agency jobs – it's a disgrace." 19. Agree your fee first First things first, make sure that the fee is agreed before you do any work on a job. "People will take advantage of you," says Jess Bonham. "Just the very fact that you're showing them that you're taking the budget seriously and you want it to be transparent, makes them realise that they can't mess you about." 20. Have clear T&Cs Like many freelancers, Cheetham has 30-day payment terms, and charges a 5 per cent late fee, which goes up to 10 per cent after 60 days, but he admits they're largely a deterrent. "It's good that they're written there, but you could have written anything," he laughs. 22. Join an industry body Cheetham recommends joining an industry body like the Association of Illustrators, UKWDA or DBA, as the former has given him legal advice on non-payment but has also helped him with pricing. "You can ping them over project details, and they'll give you advice on fees." This was essential when he was entering the uncertain world of licensing existing un-copyrighted work. 23. Arm yourself with insider intelligence Illustration: Jamie Coe If you're working for a client on a regular basis, get to know what their policy is so that you can beat the system armed with insider intelligence. "If you're unlucky enough to time an invoice wrong, you might be looking at six to eight weeks, as opposed to 28 days," Tallon explains. "And it becomes difficult then because a client has to alter their company policy to meet your invoice terms. Most people just won't do that." 24. Play the reliable card Working with the system also has its advantages. "One of the benefits of being reliable is that you can say, "Am I okay to invoice this two days before the brief because I'm a bit skint?" and people who know you are generally fine with that and will process it early," he adds. 25. Chase repeatedly if you have to But, sadly, sometimes you're pushed so far into a corner that your only option is to make yourself as annoying as humanly possible. Follow up a late payment with a friendly email, but if no response is forthcoming then don't be afraid to escalate. "Ideally contact the right person in the finance department, so you can separate the person you have to be stern with from the creative person," says Bonham. "But essentially, if you've done a good job for somebody, and they haven't paid you, then they should be the person to feel ashamed. There is nothing wrong with chasing them repeatedly, and don't work for them again." This article was originally published in Computer Arts, the world's leading design magazine. Subscribe here. Related articles: 6 things to know about getting freelance clients The freelance survival guide The expert guide to working from home View the full article

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Augmented reality has been around for longer than we think, but it's still a new field for most of us. Head-mounted displays with visually coupled systems were being used by the military back in the 1960s and 1970s. Top tips for scaling up AR apps But it wasn't until the 1990s that we started having motion-stabilised displays and fiducial marker tracking, like ARToolKit with its now famous Hiro marker. With the arrival of location-aware phones in 2008, companies like Layar started working on 'outdoor information overlay'. In its December 2009 issue, Esquire featured AR on the cover, catching the public's attention. It still took a while for AR to really come into the public's imagination. And this happened… with a Pokémon. Well, with lots of Pokémon. The Pokémon GO app exploded on the scene in 2016. Everybody had to catch them all! But most importantly, people from outside the tech industry started talking about augmented reality. Pokémon GO was instrumental in bringing the world of AR to the masses So today AR is trending. But why? Maybe it's because we have dreamed about the possibilities, and now we are starting to consider them as real. This tech could actually have useful purposes that will help society develop. AR taps into our natural tendency to want to evolve even further. Plus, it has that cool factor that will help promote it for massive user adoption, for widespread uptake around the globe. Who are the big players in AR? With Hollywood and the gaming industry behind it, it's no wonder that augmented reality is considered a hot topic. But there's more. Another reason why AR is becoming popular is the financial backing, support and innovation from big players in the tech industry. This plays an important role. AR is predicted to have a market revenue of $90 billion by 2020, with VR largely behind with a $30 billion forecast. So let's take a look at some of the contributions of the big players in the field, from early successes to the most recent developments. Google Google introduces its Glass Enterprise Edition Google has made so many efforts in the field of AR and VR that it's hard to know where to begin. It released Google Glass in June 2013, and although some pretty interesting developments have been made – for example in wearable socio-affective aid and disability – these smartglasses haven't been a major success. Last year, it announced an enterprise version of Google Glass so we'll have to wait and see. The long but steady path into AR continued with Project Tango, back in June 2014. Although discontinued, Project Tango was one of the most advanced AR computing platforms seen. Google Cardboard was way more successful than Tango; its low-budget and accessible feel appealed to users around the world. There have been more than 10 million Cardboards shipped. And although you can technically use it to display AR, it was first conceived (also in June 2014) as a VR device. Thanks to its success and popularity, Google announced in May 2016, that it would focus its efforts on building a new, improved and enhanced platform for VR, called Daydream. Finally, its latest effort in AR has been the greatest to date. Enter ARCore. The coming of ARCore ARCore brings AR to Android devices In August 2017, Google shook the augmented world by publishing ARCore. Android users finally had their own AR platform. With ARCore, people started creating AR experiences on a massive scale. So how does ARCore work? First of all, it has stable motion tracking, an advanced inside-out tracking with monocular camera. Google was not the first to make AR available on a monocular camera; Apple had introduced it before with ARKit (more on that later). ARCore also has hit-testing to detect some planes (floor, table, wall) in the space around you and give you their location (environmental understanding). Another important feature is real-world light estimation. ARCore can estimate ambient and directional light. This is key because with good lighting AR merges smoothly in the real world. ARCore is currently available on Google-specific devices like the Pixel, but it will soon be open to millions of Android devices. The consolidation of WebAR Another major contribution from Google is the importance and relevance that it has given to WebAR. Efforts existed before (open-source libraries like AR.js) but Google has made the focus shift and the world notice. Before, when people considered AR they thought only about HMD devices and funny-looking glasses, but now, Google has consolidated AR on the web. It has built two apps to expose both ARCore and ARKit with web tech: WebARonARCore and WebARonARKit. So, by exposing AR to a modified version of Chrome, developers only need a single API to reach both markerless tracking platforms. Ultimately the goal is to create a WebAR standard, much like the WebVR standard that you can use to write cross-platform AR applications. Now we can reach ARCore and ARKit from a web browser, and Google will probably include that in a Chrome implementation. Exciting times for WebAR. Microsoft HoloLens is horrifyingly expensive but a great AR platform Microsoft HoloLens was introduced to audiences in March 2016. It was one of the first modern AR head-mounted displays or smartglasses. The HoloLens offers precise high-quality tracking. The advantage of transparent devices like the HoloLens is that you don't have to hold the device in your hand (like you would a phone or tablet). Applications include a catalogue of 'holographic' 3D objects that you can play around with, and the HoloStudio to create them. It uses mostly Unity and Vuforia to build the apps. Microsoft has also implemented Skype and Cortana, its virtual assistant, into the HoloLens. And of course, there are a lot of gaming applications that you can try. All in all, the HoloLens is a very interesting device – the price is currently a bit restrictive but it's still a great platform to play with. Apple Apple has just revealed ARKit 2, making it possible to create shared AR experiences Early in 2017 Tim Cook, CEO of Apple, made some comments on AR. However, it was all very non-committal. Apple had previously made many acquisitions in the AR field, but it had never got round to releasing anything. Then in June 2017, ARKit was announced. It was also integrated on the iOS 11 release. ARKit introduced monocular camera support for AR on the iPhone. Markerless tracking and the ability to do hit-testing on the real world were also part of the package. From June 2017, until the release of ARCore, Apple was the leader in the AR world. Not because of the tracking accuracy of its tracking technology: HoloLens and Project Tango had better tracking, but they both required specific hardware. Apple was the best because you got AR in your pocket by default… as long as you had an iPhone. ARKit basically offers the same features ARCore offers, but for iOS users. One difference is that Google uses a process called COM, concurrent odometry and mapping, to understand and map the world, while Apple's ARKit uses VIO, visual inertial odometry, to do the same thing. However, iOS is only 12 per cent of the world's mobile market. That's why we needed AR on Android for the other 88 per cent. ARKit was definitely a key step towards massive user adoption. Everybody was rightfully impressed. But, the thing about Apple is that it likes to keep a tight grip on what it does, meaning that it provides closed – rather than open-source – solutions. Apple was pushing for native App Store and less for WebAR. Even so, ARKit is pretty slick and there are some terrific demos online made with Unity. Mozilla The year 2017 was great for AR development, and following Google and Apple's lead, Mozilla had to throw its hat in the ring. A-Frame, its easy to learn web framework for building VR experiences, has been gaining massive popularity since it was released in July 2017. In October 2017, Mozilla also announced a new development program for mixed reality that "would expand their work in VR and AR". It drafted a WebXR API proposal. Later it started experimenting with WebAR on iOS with ARKit. The result: a WebXR viewer app available for download on iPhone devices. The app lets you view web pages created using Mozilla's own JavaScript library. Facebook Facebook started dabbling in VR a while back when it bought Oculus Rift for $2 billion in March 2014. Now it has officially started its incursion into AR. First, it announced a developer platform for its AR 'World Effects' (similar to those of Snapchat filters). Then, in December 2017, it finally opened the beta version of the platform to all devs. Facebook is allowing them to use precise location, object recognition and depth detection to get creative. Developers all around the world can start building AR experiences for the Camera Effects Platform, which includes 'World Effects' that augment your environment with 3D objects rather than just your selfies. Magic Leap Magic Leap finally announced its first product in December 2017. The Magic Leap One is an AR headset to compete with devices like Microsoft HoloLens. It includes a pair of round-lensed goggles with audio and external camera sensors called Lightwear. It also includes a handheld controller with a touchpad and a "round computer system that clips to your body" called Lightpack. The Creator SDK is available now. Who else is out there? Besides the ones already mentioned, many other companies have developed their own AR services and products. Unity has been very active in perfecting its multiplatform for AR and VR. Actually, over 91 per cent of HoloLens experiences are made with Unity. More than two-thirds of all content created for AR and VR uses its engine. It offers support for Vuforia, and there are Unity plugins for ARCore and ARKit. Another company building an editor specifically targeted towards AR/VR experiences is Amazon, with Sumerian. The premise is that it's quick and easy to use without requiring any specialised skills or 3D graphics expertise. Other companies that have produced AR include Epson with Moverio, Sony with SmartEyeglass, IKEA with its Place app, Snapchat with Lens Studio, Blippar, Meta, Wikitude, Augment… to name just a few. Even NASA has been making use of AR/VR for several projects on space research. The market and its applications Now that there is more visibility around AR, an increasing excitement about its possibilities, and that the tech is made available to more people, what's next? Well, one word: creation. Content creation. This means building applications for the many fields where AR can play an important role. Let's take a look at some of the ways society is making use of AR. Education AR is already making changes in the way we learn. Apps for education are being deployed in classrooms around the US and some parts of Europe. Imagine children having trouble being attentive at school. Imagine that instead of reading a boring textbook, they see history happening live in AR. Or mixing elements in chemistry and seeing the reactions fume or explode. The classroom is way more appealing this way. The love of learning will come back to our schools. You can learn with your phone, which means there are fewer materials to buy, the retention rate will be higher, lessons will become more interactive and foster intellectual curiosity. Children can benefit greatly from apps like Aurasma, Quiver, or the amazing flashcards and anatomy app from Octagon Studio, which are both recreational and educational. AR in the workplace AR in the workplace has also started to be implemented. Industrial applications are being tested on factories to teach workers how to use the machinery, or to extract information like the current state of the equipment, temperature, location, etc. Obviously this is very interesting for industrial customers because it minimises error and cost. It can also help with maintenance procedures. The Microsoft HoloLens has been used by thyssenkrupp engineering for elevator maintenance, and by Volvo for complex assembly. The same device was a finalist for the RIBA Stirling Prize 2017 with applications for architecture and BIM (building information modelling). Assuring quality is the most important thing for these industries, and the expert support, automation and even AI that AR can bring is a big advantage to be invested upon. Retail and advertising AR for retail and advertising is also being developed. AR could reactivate this field. The amount of revenue is interesting enough for advertisers to be willing to learn how to use AR/VR editors and mobile apps. By being able to visualise the product in AR, the user will be more tempted to purchase it, or at least to interact with it. It will boost sales. In the case of e-commerce the experience can be triggered either from a website or from a printed ad on the street. All they need is a QR code to scan and launch the experience. Remember the window shop from Net-a-Porter or the Pepsi Co's unbelievable bus experience, and even Tesco has a AR app. Other companies like ModiFace have made a name for themselves by offering AR tech to beauty brands. Sephora has launched an AR app to try different makeup looks and products. The possibilities are endless. Gaming Gaming is another field where AR has left its mark. Although mostly a VR thing, popular games like Pokémon GO are what actually made the consumer market massively aware of AR. But there are many other apps to choose from, like shooting games, horror games, sports games, even table and card games. The future of medicine AR is also present in other areas like medicine, where it could actually improve the way surgeons train or approach a complicated operation. The Gregorio Marañón Hospital in Madrid decided to use the HoloLens to help surgeons perform procedures on patients. With the device they can quickly see data from CT scans, ultrasounds, X-rays, and 3D models, all through an interactive holographic panel system. In April of 2017, a team of surgeons used the HoloLens to operate on a patient with a malignant muscular tumour, using the headset to visualise MRI and radiography information during the surgery. This is simply outstanding and promises some exciting things to come. The next step As we have seen, AR has a wide scope of application. Now we need to keep creating content and get that killer app. This killer app will help us find out how people will use AR in a meaningful way that transform their lives. We need to figure out how to make AR a tool of choice, easy to use and shareable. Also, companies need to focus on making transparent devices available for massive use. Maybe these devices will end up having the same market penetration as video game consoles. Manufacturers need to improve interaction and control of the 3D being displayed, making the gestures feel more natural and the devices themselves less cumbersome. AR will be perfected on mobile phones, localised in space (home, workplace, classroom, coffee shop) with high quality data visualisation and real-time sharing. WebAR will play an important role in this democratisation, creating visibility but especially opportunity for anybody to experience and create AR… and with opportunity comes change, and this change is closer than we think. There's a lot to look forward to. This article was originally published in issue 305 of net, the world's best-selling magazine for web designers and developers. Buy issue 305 here or subscribe here. Related articles: How to code an augmented reality marker The best VR headsets for 2018 VR: is it the future of design? View the full article

As a digital artist, game developer or character designer, there's nothing cooler than seeing your static images animated in videos games. Whether it's a simple walk cycle or an all-out attack sequence, adding movement to your illustrations gives them a new and exciting dimension. But stepping out of your comfort zone of static images and into the world of digital animation can be intimidating. There's so much to learn (starting with the 12 principles of animation) and so many tools to choose from. Where do you start? In this month's round-up, you'll discover some of the best tools for creating 2D animation, with an emphasis on gaming, from pixel art to vector-based graphics. So what are you waiting for? Let's get moving! 01. Piskel Price: Free Piskel is an online tool for creating animated sprites and pixel art. It's easy to use and requires no sign-up. However, if you're interested in creating a gallery, whether it be public or private, you can do so by signing in with your Google account. With Piskel, you get a live preview while you're creating your image. You also have the option of importing PNGs, JPGs, BMPs, and animated GIFs. Or you can import .piskel files, the proprietary format for Piskel. On the export side, you have options for animated GIFs, PNG spritesheets, or a zip with each frame rendered out as a PNG. This is an online tool, but there’s also a download available for Windows, Mac and Linux. 02. Aseprite Price: $14.99/£11 (trial available) Another great pixel art and animation tool is Aseprite. This app has everything you'd expect from a larger publisher, including layer support, onion skins, playback modes, alpha channel control, shading modes and custom brushes. Like Piskel, you can import and export a variety of formats, like PNGs, spritesheets and animated GIFs. 03. Spine Price: $69-$299/£51-£223 (trial available) Moving out of the realm of pixel art, Spine allows you to animate your already existing artwork. That's right – there are no illustration tools included in Spine. However, because it's such a powerful animation tool, it's absolutely worth a look. Spine gives you all of the tools necessary to animate your characters, including a dope sheet and a Free-Form Deformation (FFD) tool. The dope sheet gives you a detailed look at the timeline where you can make tweaks to the animation's timings. And with the FFD tool, you can transform individual mesh vertices and deform your image. 04. Pencil2D Price: Free This cross-platform 2D drawing and animation app is great for bringing your hand-drawn animations to life. Thanks to its lightweight design, Pencil2D lets you focus on the art and animation, not the interface. It supports both raster and vector, and has options for importing and exporting different formats. 05. FlipBook Price: $29-$249/£22-£171 (trial available) Like Pencil2D, FlipBook is another contender if you're looking for a graphics app to create traditional 2D animation. FlipBook lets you draw, scan, and import things like backgrounds, cels, overlays, and even movies. You can also add sound. When you're done, you can export still images or the full, animated movie. 06. Synfig Studio Price: Free Another powerful, cross-platform, open source 2D animation drawing and animation tool is Synfig Studio. Although more complicated than most other graphics apps, Synfig gives you control over almost every aspect of your animation, and provides you with familiar tools like brushes, fills, masking, layers and more. 07. Moho Debut and Moho Pro Price: $69.99-$399.99/£52-£298 Moho is a vector-based 2D animation program for beginners (Debut) and professionals (Pro). Both come loaded with tons of pre-made content and characters to help get you started or spark your imagination. With the Debut version, you can use a character wizard to dial-in things like body proportions and predesigned 2D components. Or you can import your own images and use the autotrace option. For Pro users, you get things like FBX support, motion blurs, frame-by-frame capabilities and more. Check out this free Introduction to Moho course to get you started. 08. TVPaint Animation Price: $590-$1250/£441-£1104 (trial available) Moving on to the more 'professional' set of tools, TVPaint lets you render fully animated scenes from start to finish. It uses bitmap technology, so you can animate natural renderings, like gouache, watercolour, oil painting, crayon and pen, traditionally, image by image. TVPaint Animation is one of the pricer options included in this round-up, but it does offer a trial version, and from what I've seen so far, it's quite powerful and well worth the price. Don't believe me? Take a look at its gallery. 09. Toon Boom Harmony Price: $375-$1975/£280-£1474 (trial available) Toon Boom's Harmony, considered by some to be the de facto standard in animation tools, offers three versions of Harmony: Essentials, Advanced and Premium. You also have three licence options: Perpetual, Monthly (starting at $23/£17 month) or Annually (starting at $15/£11 month). With Harmony's illustration and animation tools, you can sketch, draw, and paint in both bitmap and vector formats. You also have access to advanced colour palettes, deformers, frame-by-frame animation, and special effects. Have a look at this Star Wars parody video from Jason Venus, and check out the glow and shadows on those lightsabers – it's absolutely stunning! 10. CrazyTalk Animator Price: $69-$299/£51-£223 (trial available) If you're looking for software to help with audio lip-syncing for both Sprite-based and Morph-based characters, or 2D facial and body puppeteering, CrazyTalk Animator has you covered. With CrazyTalk Animator, you can animate anything! CrazyTalk Animator is available in three flavours: Standard, Pro and Pipeline. The Standard version will get you started with basic timeline editing and G3 character templates, but to get the full benefits of creating your characters directly from PSDs, you'll need the Pipeline version. All three versions include support for importing images and videos in a variety of formats. You can also export videos and image sequences, however, FBX exports are limited to the Pipeline version only. Read more: 10 amazing podcasts for digital artists 30 top vector art tutorials 8 ways to shine as an animator View the full article

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This issue we help you at excel at key tasks, from creating photorealistic portraits, integrating motion capture data into your scenes and setting up believable cloud simulations for your aerial shots. Buy 3D World issue 236 now We offer a great guide, that shows you what to expect from a career in games as well as how to get your foot on the career ladder, or take the next step in your journey. There are also our regular Q and As, project insights and reviews of the latest gear. Feature: Careers in games Discover how to get a dream games job, or take your career to the next step If you either want to work in games, or already do but are ready for the next step, then check out our feature where we show you what's on offer and give you some great tips to help you maximise what you offer, to get you where you want to be. Feature: CG foliage Discover the secrets behind CG forests Journey into some memorable CG forests with Ian Failes, who uncovers the secrets behind these detailed vistas, looking at projects, tools and techniques. Tutorial: Master 3D portraits Portrait master, Ian Spriggs, shares his knowledge to help you create stunning portraits Digital humans can be slightly off-putting and the closer to realism they get, the more off-putting they can be. Master portrait artist Ian Spriggs reveals how he overcomes this, with a detailed look at how he created our cover star. His rundown covers everything form modelling and texturing to lighting and rendering but, more importantly, he shares the reasoning behind his choices and his thoughts on historical references. Tutorial: iClone motion capture Implement mocap into your iClone scenes In this iClone tutorial you will learn how to take motion capture data and use it to add life to your scenes without the need to animate by hand. Tutorial: FumeFX clouds Simulate a skyscape with FumeFX Get to grips with FumeFX and learn how to create realistic cloud formations. Build the initial control meshes, right through to final rendering in this step by step tutorial. Read more on 3D art: 31 brilliant Blender tutorials 30 top examples of 3D art How to create epic environment designs View the full article

Shift is a night school from D&AD New Blood. The initiative offers young creatives without formal arts education the chance to attend 12 weeks of free night classes, and this year's course is now open for applications. One of Shift's aims is to address diversity in the design industry. “Through diverse eyes and ears, we see things from perspectives that we were never looking for and we do things to ensure those benefits are shared to a broader audience,” says D&AD President Steve Vranakis. “That way, everyone benefits. Shift is, in my view, what the whole industry should be doing on a macro scale.” Kieran Ahmed, who attended the course in 2017, thinks it's working: “D&AD has clearly recognised a problem with the industry when it comes to diversity and is giving a platform to those who probably would not get a chance based on their background,” he says. An end of year showcase of the student's work was a chance to secure placements at companies like Nike, Iris and BBC Creative The numbers are also favourable. From the 2017 Shift London programme, 84 per cent of Shifters have entered into paid creative employment, compared to 41 per cent of design graduates employed in their sectors after six months of graduation. “The strength of the programme has been building year on year," says Hilary Chittenden, head of the programme, which is now in New York as well as London. "We’re always looking at ways to reach wider audiences. Talent is everywhere, we need to look out of our traditional silos to diversify our industry and create a more level playing field.” Chloe Templeman at the class of 2017's end of course showcase One of the draws of the programme is having talks, mentors and creative briefs set by big names in the industry. One such mentor is Chloe Templeman, creative director at Design Bridge. “I like to think of Shift as a condensed version of university,” she says. “When you’re working in the industry, you have a creative director who is there to mentor you, and when you’re a student at university you have tutors to help, so it’s really no different.” Lucy Jackson, another student of the 2017 programme, felt that Shift helped grow her confidence: “It has empowered me to create work that I never knew I could create, growing my confidence and comforting me on the path of blossoming into my true self,” she explains. “I’d love to see it become a nationwide programme, providing opportunities to people in other parts of the UK as well as in London,” adds Templeman. “As an agency, we are 100 per cent behind the programme and I can’t wait to see what – and who – comes next.” If you think you've got what it takes to be part of Shift, apply here. Applications are open until 1 August. Related articles: How to encourage diversity in the design industry Top tips for design students How to transform a design internship into a job View the full article