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So what is AR.js? AR.js was developed by Jerome Etienne with the idea of making AR available to everybody. It improved performance and made augmented reality run faster on mobile. Thanks to its optimisation, AR went from running at 4fps on high-end phones to 60fps on three-year-old phones. The library was first built on projects like three.js, ARToolKit 5, emscripten and Chromium. It was, and still is, a pure web solution, based on standards. So it works on any phone with WebGL and WebRTC. And, as an added bonus it is open-source and completely free. The beauty of AR.js is that it makes AR accessible without the need to install any applications and obtainable without having to buy specific and expensive devices. Everybody already has an AR enabled device in their pockets: their own phones. How the code works The success of AR.js is based on its performance and simplicity. With AR.js you can code AR in only 10 lines of HTML using Mozilla’s A-Frame. Check out the code. This simplicity has triggered interest and experimentation, trial and error from people with and without a technical background and it is what has ultimately led to the adoption of the library by more and more designers and developers. AR.js is ever-evolving and now includes workflow improvements with multi-markers. Check out ‘Augmenting The Web Page’, a way to display AR directly on the web-page by scanning a QR code (an idea that you can apply to e-commerce or advertisement). And of course, support for ARKit and ARCore. AR.js also provides the best tracking available on any device and it runs in all platforms. If you want to start building AR for the web make AR.js your first port of call. Want to know more about WebAR? Generate - the conference for web designers Alexandra Etienne is an AR/VR evangelist who works with Lightform, a startup in California building the first computer for projected augmented reality. She is on a mission to share AR.js with the world. In her talk at Generate London 2018 Alexandra will show the advantages that web-based AR can bring, what others have created with it in and what you can do with AR.js library. Don't miss out. Get your ticket now Related articles: Top tips for scaling up AR apps How to code an augmented reality marker 6 top UX tools for today's emerging experiences View the full article

In an increasingly digital world, cleverly crafted print promotional material has the power to make a serious impact. Maybe you’re a freelancer looking to catch the eye of a creative director with some striking postcards. Perhaps you’re about to host an exhibition and want to advertise it with some flyers, or print some beautiful promotional material that visitors can take away with them. Whatever you need printed, it pays to choose a service that caters to creatives, making it quick, easy and pain-free to print your designs exactly as you want them. That’s why freelance illustrator Pope Phoenix used digital print and design company moo.com when he needed to order a batch of flyers and postcards for a solo exhibition of his work. He specializes in bold vibrant illustrations – as you can see in the image above – and needed his exhibition promo material to make an impact. As well as offering a wide range of affordable, premium paper stock and printing options, moo.com is also incredibly easy to use. Phoenix was able to order all his print promo in less than five minutes – and it arrived the next day. Throw in the ability to print up to 50 different designs per pack for no extra cost, and the MOO promise (if you’re not totally happy, they’ll do everything they can to fix the problem – even if it’s a typo in your original designs) and it’s easy to see why Phoenix went with MOO. So how easy is moo.com to use? See how Phoenix created a batch of stunning postcards and flyers in under five minutes in the short video below. Pro tips for creating stunning print promo As the video shows, it's unbelievably easy to quickly create eye-catching postcards and flyers using moo.com. Here are some of our favorite tips from illustrator Pope Phoenix… 01. Make a serious impression with the right stock Choosing the right paper stock for your print promotional material is crucial for creating the right impression. If you’re printing a batch of postcards or flyers, moo.com has you covered with a wide choice of stunning paper options, ranging from premium to extra-fancy. This makes it insanely easy to show off your brand at its very best. 02. Stand out with an unusual size You might have designed the most beautiful postcard or flyer in the world, but how can you make sure it stands out in a sea of competitor promotional print material? A cleverly chosen print finish can elevate a design – try moo.com’s dramatic Pearlescent finish if you want to make your flyers explode. But one of the most immediate ways to make a difference is to choose an eye-catching size. MOO offers a whopping seven different postcard options. These range from a nifty new rack card (3.67 x 8.5 inches) option, all the way up to large (6 x 9 inches) – with square, half page, small, medium and standard choices in between. Printing a flyer instead? MOO’s got you covered with five brilliant size options. 03. Maximize your impact with Printfinity Phoenix's best tip is to take advantage of moo.com’s exclusive Printfinty feature. For no extra cost, Printfinity lets you print up to 50 different images in each pack of postcards, flyers, business cards or stickers. That means you can get creative and tailor your print promo to different prospective clients or audiences; or you can showcase your best work or products with just one print run. Game-changing. Try it yourself Using moo.com is quick and easy – and will take your print promotional material to the next level. Watch the short video above for pro tips on how to create incredible postcards and flyers in less than five minutes, and then head over to moo.com to try out the tools for yourself. Also read: 10 steps to go freelance this year The pro's guide to creating memorable business cards Create better business cards in less than five minutes How to project your work onto the global design stage 6 sure-fire ways to build your creative network View the full article

You're on the hunt for that dream animation job and you've got some amazing 3D art to feature in your killer design portfolio. But how exactly do you go about putting your showreel together to catch the eye of a potential employer? Here, Pixar's Allison Rutland reveals her dos and don'ts for crafting a showreel that makes the right impression. Do: Include a range of work You want to show off your whole skillset in your showreel, so make sure you haven't just focused one type of animation, and don’t show similar types of shots over and over again. Include examples of acting and physical animation. It's also a good idea to show animation work from both studio jobs and personal tests. Don't: Forget about dialogue When including dialogue, try and avoid the lines that come up over and over in animation tests. Instead, experiment with less common phrases. Avoid loud and annoying background music, and make sure you can still hear the dialogue over the music. Do: Space it out Include a bit of black space between each animation piece. This is a clear indicator that you're moving on to something new, and gives the viewer a bit of a chance to absorb what they've seen. Do: Edit carefully Your animation showreel should be two to three minutes long (or even less). Make sure you don't go over three minutes. In your showreel you only want to show your very best work – no fillers. Also: Don’t cut it together like a music video where no one piece is shown in its full length. This article originally appeared in 3D World magazine. Subscribe now. Read more: 6 expert tips for better 3D renders 15 pro tips for crafting the perfect showreel 4 of the best animation showreels to inspire you View the full article

Nowadays, a good degree is no guarantee of a job – especially in the competitive creative industries. However, there are some things design students can do whilst at uni or art college that will help you stand out from the crowd and turn that degree into your dream job. Whether you're in your final year or earlier on in your course, read on for eight top tips for getting it together while you’re still at university so you’re more likely to be successful when you graduate. 01. Get involved Whether online or in real life, it’s a good idea to take an active part in the world of design. Join organisations, attend events, follow industry leaders and keep your eye on what’s happening in design. Award projects are a great way to get noticed. Take on competition briefs and give them your best. They often provide an opportunity for you to experience real design briefs first-hand, come into contact with people in the industry and test your skills. It’s your chance to show the design world what you can do. D&AD New Blood is a big one: the briefs are released each autumn. Read more: Design organisations every student needs to know 02. Perfect your portfolio Whether it’s a physical design portfolio or a digital one, think about your portfolio as a whole. Edit it carefully and consider the order in which the projects should go. Generally you want to open and close with your best two projects as these tend to be the ones that are remembered. The top agencies get applications from numerous graduates all the time, so if it’s not simple to view your work they probably won’t bother. Read more: 8 brilliant portfolios from young designers 03. Keep sketches Sketches help demonstrate your thought process, and show off your creativity and problem-solving abilities. If possible, keep your original sketches and put them together in an orderly fashion. At a face-to-face interview, it is always good to present tangible pieces as well as a digital portfolio. Read more: Pens and pencils for sketchnoting 04. Work out who you are Deciding what you want to do (beyond earning money) is easier said than done. Where do you want to be? Do you want to work in a city, live in the countryside or do you want to travel? Do you want to work for a large agency, a small agency or for yourself? What type of work do you love to do and who would you love to work with? Whose work do you admire and why? Where would you like to be in six months? In two years? In five years? Be aware that the industry is continually changing and that new agencies and ways of working are providing fresh opportunities all the time. Having a clear idea of what you want to do and where you want to be is the first step to getting there. Read more: 5 student stereotypes to avoid 05. Do your research Researching companies and potential clients will help you find which ones suit you and whether you’d be a good fit for them. Having identified your target market, you can hone your message especially for them. Tailor your portfolio to suit the job you want, and flag up anything relevant that might give you the edge. The more research you do the better. The fact that you’ve gone the extra mile will also be appreciated. If you're earlier on in your course, an easy way to start is by following different agencies on social media. This way, you'll see any new work and get a feel for their personality. Read on: 49 design agencies to follow on Twitter 06. Impress on placements The more experience you get and the more contacts you make, the easier it will be to find the job that’s right for you. When on a placement, make yourself indispensable. Show enthusiasm and be memorable – in a good way. Even if you don’t drink hot drinks, by offering to make people a cuppa you get chance to chat to other employees and find out about the projects they are doing. The design industry is small. Be aware that if you do well at one place word will get around… and vice versa! A side note to this: when applying for placements or jobs, follow any instructions carefully. Good roles will attract a lot of interest, so if you make things difficult for the recipient, chances are they won't bother making the extra effort with your application. Read more: How to transform a design internship into a job 07. Know your work Learning to clearly explain your ideas, sell your work and yourself is as important as the design. It is about showing your understanding of the issues and explaining how your design(s) solved the problem set out in the brief. You need to show how you can be of value to the company or client. Ask questions: it demonstrates interest. Sometimes even the simplest question can unlock a wealth of information. Read more: How to shine at your degree show 08. Learn to take criticism Learning to take criticism is a vital part of being a designer. You’re always going to get negative reactions, but don’t take it personally. Setbacks should make you want to work harder. It also helps to be able to bounce back if you do get a 'no' for a job or internship. An agency or client may not want or need you now, but they may in the future. Read more: 7 must-read books for design students This article was originally published in net, the world's best-selling magazine for web designers and developers. Buy issue 305 or subscribe. View the full article

Struggling to know which is the best VPN service for your needs? We can help: we’ve taken a look at all the major Virtual Private Networks and rated the best VPNs below, to help you choose which is right for you. The best web hosting services of 2018 Whether you’re working from Beijing and need the best VPN for China, or you’re based in your local coffee shop and need some better security, we’ve got the best VPN for creative professionals – as well as the best VPN deals – right here. And don’t worry: you don’t have to be technical. VPNs are surprisingly simple. Some just take minutes to get up and running... What is a VPN and why do I need it? VPN, which stands for virtual private network, is a service that encrypts your internet communications. It enables users to securely access a private network and send and receive data remotely. If you’re a freelancer, say, a VPN enables you to remotely connect to an office network as though you were working in the building. It’ll let you securely send confidential material to a client or do your banking from an unsecured public network, such as a coffee shop Wi-Fi spot, or abroad. In addition, a VPN can keep your internet browsing anonymous, or make you appear to be located in another country – which can be useful if you work with global clients that have IP-based restrictions on their sites. “I often have to fire up the VPN to make myself appear as if I’m in different EU territories,” says London-based web designer Robert Fenech. “A quick 'turn on and select country', and voila.” Sometimes it’s not the website protocols themselves that you have to get round, but government censorship. Just imagine you’re visiting Beijing and needed to download some Photoshop files from a service that the ‘Great Firewall of China’ has blocked. A VPN can help you get around that too. Whatever your reasons for using a VPN, there are a number of services on the market. Here, we’ve picked the very best VPNs for designers, artists and creatives. Canadian VPN service TunnelBear is aimed squarely at non-technies and VPN newbies. It’s incredibly easy to use, and gives you a wide range of clients – covering both desktop and mobile devices. Setting up the TunnelBear VPN takes a matter of minutes, with a hugely simplified process compared to other VPN services. Explanations are jargon-free and written in the kind of plain English everyone can understand. The flipside of that, of course, is that options are limited compared to other VPNs, so more advanced users looking for high levels of configuration will be better off with a rival service. But that aside, what TunnelBear does, it does very well, with the choice of more than 20 servers around the globe, and pretty impressive speeds overall (although those speeds do drop a little over long-distance connections). Paid plans give you unlimited data and can be had for a reasonable $4.16 per month. And TunnelBear also offers a free VPN service, which limits you to just 500MB of traffic per month. Cyber Ghost is the best VPN for you if you're looking for a service that's a bit more customisable than TunnelBear (above) – yet feel a little intimidated by jargon and over-complex instructions. It's headquartered in Romania, and has a ton of easy-to-follow guides that explain everything in basic English that anyone can follow. These are handily divided up by device, so you don’t have to cross-reference all over the place. And they explain everything from how to surf anonymously and how to block ads to more advanced fare, such as how to configure a Raspberry Pi as a web proxy with OpenVPN, or how to share a VPN connection over Ethernet. And it’s good that these guides exist, because Cyber Ghost does offer a large number of configuration options, such as setting it to automatically run on Windows startup, assigning specific actions for different Wi-Fi networks, and making CyberGhost automatically run when you use certain apps, such as Facebook. The interface is pretty easy to use too. The main window offers six simple options: Surf Anonymously, Unblock Streaming, Protect Network, Torrent Anonymously, Unblock Basic Websites, and Choose My Server. And you can try the service out before you buy with the free plan – although it has some restrictions: you can only connect one device at a time, it may run slower than the full commercial service, and it displays adverts. All in all, Cyber Ghost is a great VPN service for anyone who’s not a total newbie and wants to push what their VPN is capable off, but doesn’t want to go wading too deep into the techie weeds. VYPR VPN is a fast, highly secure service without third parties. If you’re looking for privacy, then a service based in Switzerland – known throughout history for obsessive levels of discretion within its banking system – has to be a good start. But while Vypr is keen to trumpet its service’s ability to provide privacy and security, it’s really the speed of the thing that’s the most impressive. VYPR VPN is hardly alone in claiming to offer “the world’s most powerful VPN”. However, it backs up this claim on the basis that, unlike many of its rivals, it owns its own hardware and runs its network. Either way, it was pretty nifty when we took it for spin. In short, if your work involves uploading and downloading a lot of hefty files, and shaving time off that is going to make a difference to your quality of life, VYPR VPN is the one of the best VPNs you can choose. Windscribe offers a decent enough VPN that has one main benefit over rivals: its commercial plan allows for unlimited connections. That means that you can use it on as many devices as you want simultaneously, where most providers only offer five. Alternatively, you might be attracted by the high-level of privacy it offers. You don’t have to use your real name or provide an email address to sign up to the service. And if you want to stay totally anonymous you can (as with most VPNs) you can pay with Bitcoin. Plus, being based in Canada, it’s nicely out of reach of US law enforcement agents. If neither of those things are a big selling point, though, then it probably shouldn’t be your first choice, as performance and features as a whole are fairly average. Prices start at $3.70 a month for a biannual plan. HotSpot shield offers an impressive level of speed HotSpot Shield is another fast mover. When we took it for a spin, we experienced very fast upload and download speeds when transferring big image files, and while these weren’t quite up to Vypr’s levels, they were pretty darned close. This may not be the best choice if privacy is your biggest priority, though. HotSpot Shield is based in California, making it subject to U.S law enforcement. It doesn’t let you pay for the service with Bitcoin. And it uses its own proprietary VPN protocol, which some people are suspicious of because it hasn’t been widely analysed externally. That said, Hotspot Shield Premium's high speeds and low prices have clear appeal, and the seven-day trial makes it easy to test the service for yourself. As you'd expect, the best value for money is the one-year subscription, unless you want to commit to the lifetime plan. ExpressVPN has a hard-won reputation for excellent customer service ExpressVPN is based in the British Virgin Islands, which may ring alarm bells for privacy enthusiasts. But there’s no need to worry: this self-governing tax haven is in no way interfered with by British law enforcement. As you’d hope from the name, it’s also a super-fast VPN service and offers high levels of encryption. On the downside, it only offers three simultaneous connections per user, where most services offer five. But what really stands out for ExpressVPN is its customer support. Although it’s not alone in offering live chat, 365 days a year, 24 hours a day, its agents have a great reputation for sorting problems quickly, efficiently and with a smile in their voice. And while that’s not often our main consideration when selecting a provider of any service, perhaps it should be. Related articles: The expert guide to working from home The essential guide to tools for designers 10 top prototyping tools View the full article

Getting the photo you want when you're working with a photographer depends on briefing that photographer correctly. But even if you pride yourself on your own photography skills, briefing someone properly isn't always as straightforward as it seems. We spoke to AOP agent Siobhan Squire and a photographer she represents, Ben Stockley – who took the image above – to find out the best way to go about this. How should art directors brief a photographer? Siobhan Squire: It's always nice to have a scamp rather than just a written brief for advertising work. It's also great if creatives have some idea of the scale of the job before briefing. A good creative will be available for a discussion with a photographer. It's crucial, not only to gauge how a photographer might interpret the brief and to hear what they might add to it, but also for a photographer to glean any finer details that might not be apparent and to start what should be a collaborative discussion. For editorial work, the joy is what is often an open brief! What makes a brief work? Ben Stockley: It depends on the subject matter. For example, in some editorial shoots you are given a list of locations and contacts and are left to find the interesting angles to cover. In advertising, the most effective briefs are when an agency gives you lots of space to create your story and treatment, with time to make it special. Tell us about the briefing process... SS: Usually we receive the brief either directly from a client or through their agency. We try to ascertain as much information as possible before we pass it on. For example, it's good to see the target demographic, the media and territories the work will be running in, the production team, the casting agencies, and of course, the budget and timings. From Services Project, 2016, by photographer Ben Stockley When responding to a brief, do you present a treatment? BS: Each client requires a different approach. I often send treatments for ad stills and film shoots describing the form, narrative and style I think would be best for the job. With editorial work, treatments are much less common, although often we will spend lots of time researching and creating moodboards. Do you find that briefs change? BS: This mostly depends on when you are brought into the project and how much creative input you are given. Generally in my editorial and advertising work I will push for the most input possible, although sometimes when you are brought in towards the end of the process the foundations are firmly laid. What happens if a client says the finished images don't meet the brief? SS: I can't think of a time when that's happened. Usually there are so many people involved from the client and agency that there is no opportunity for a client to not know what will be delivered. Final post-production and grading tends to be when our photographers put their final mark on the work, but usually that's why they have been commissioned for the job in the first place, so again there aren't normally any surprises! This article was originally published in issue 279 of Computer Arts, the world's best-selling design magazine. Buy issue 279 or subscribe. Lead image: Ben Stockley Related articles: The 13 best photography websites How to write the perfect brief The secrets of fulfilling a creative design brief View the full article

For any Google search keyword, the top three results receive 60 per cent of the clicks. That means you have to learn to master search engine optimisation (SEO) in order to drive more traffic to your website. SEOPop can analyse any website and create a report card that gives you a run-down of the website. You'll be able to identify areas in which you can improve SEO, page speed, and load times. This way, you can help your site get the exposure and traffic it needs to become a top hit on any Google search that contains certain keywords. SEOPop will also break down how impactful your SEO is on Facebook and Twitter pages. Finally, the report includes information about your site's mobile performance, so you can ensure your site is just as effective on a smartphone or tablet as it is on a computer. Get a lifetime subscription to SEOPop for only $9.99. Related articles: 10 must-know SEO tools for search success 5 top tools to master SEO 30 best SEO tools View the full article

As many designers will tell you, positive word-of-mouth publicity is invaluable. You can have the best design portfolio around, but nothing will convinces prospective clients to get in touch more than a glowing review from a friend or colleague. Key to this is keeping your current clients happy. But how exactly? The thing is this: clients typically won't tell you what they want. At least not out loud. They might hint at it or suggest it. But it's often up to you to read their minds. In this article we'll dive into the murky waters of deciphering clients, and reveal what it is they all really want. 01. To know they're not being ripped off First and foremost, most clients want reassurance that their investment in design will be worth it. This is especially true if they are unfamiliar with how much design work usually costs. Itemise and explain everything you can, and never let them think that you're pulling the wool over their eyes. 02. To know you're listening to their ideas Many design clients like to feel part of the creative process, rather than merely passing over a brief and waiting for the solution. It can be illuminating and exciting, and it helps them to understand if costs escalate or deadlines are pushed back. "Generally speaking, client-suggested design modifications are welcomed," says design director Clive Hilton. "More often than not they're implemented if we don't have fundamental reasons not to, which helps the client feel a direct sense of involvement and project ownership." 03. To see something truly brilliant It goes without saying that any self-respecting client wants brilliant creative. But they also want patience, understanding and professionalism from you, even in the wake of multiple waves of tiny, fiddly amendments to the design. 04. To have their vision realised A genuine willingness to understand and empathise with the design client's desires and challenges goes a long way. It's about fulfilling their brief in a way that's appropriate to their brand – not massaging your own design sensibilities. 05. To provide the best solution You are being hired for your expertise in the field. Gather as much information as you can about the brief, but ultimately remember that you're there to provide solutions, not raise more questions. Don't skip pre-brief discussions. These are a brilliant opportunity to ask questions and to really get to the heart of what your client wants. This article was originally published in Computer Arts, the world's best-selling design magazine. Read more: 8 ways to automate common design tasks How to create the perfect design resumé 11 unwritten rules of design View the full article

Adobe patched the Flash Player vulnerability (CVE-2018-5002) earlier on Thursday. View the full article

Pen Test Partners demonstrates how to send vessels off-course or even onto a path to collision -- fairly easily. View the full article

A new malicious campaign has compromised more than 40,000 machines globally to monetize via traffic hijacking and cryptomining. View the full article

This Summer, CG enthusiasts from all over the globe will gather in Vancouver for the annual SIGGRAPH (Special Interest Group on Computer Graphics and Interactive Techniques) conference. And you could be there too! Organisers of the conference are offering two lucky Creative Bloq readers the chance to win a full-conference pass to SIGGRAPH 2018 (a value of up to $1,550 USD each) and join a community of curious, passionate artists and innovators. The five-day conference, held from 12-16 August in Vancouver, British Columbia, Canada, will see attendees immerse themselves in the latest innovations in digital art, CG, animation, VR, games, mixed reality and emerging technologies. So, are you ready to experience research, hands-on demos, and fearless acts of collaboration? Simply fill out the form below for your chance to be at SIGGRAPH 2018. Enter here for your chance to win! Digital art greatness For more than four decades, SIGGRAPH conferences have been at the centre of innovation in computer graphics and interactive techniques. SIGGRAPH 2018 will immerse you in a broad array of educational and hands-on opportunities, and open the door to breakthrough technologies that will keep you at the top of your game. Programmes focus on five key areas: production and animation, research and education, arts and design, gaming and interactive, and new technologies. Other attractions include a job fair where employers meet with thousands of job seekers from around the globe; an exhibition featuring the companies that are changing the marketplace for computer graphics and interactive techniques; and plenty of networking opportunities with some of the brightest minds in the field. There is no limit to what you can gain from attending SIGGRAPH 2018. Learn from the best in the business and absorb a wealth of invaluable inspiration, skills and motivation that will help you on your path to digital art greatness. View the full article

Renowned advertising agency Ogilvy, the company behind huge campaigns for Dove and American Express, has launched a rebrand that ties into its significant internal restructuring. Created in partnership with Collins, the rebrand includes a new visual system covering Ogilvy's website, font, and logo design. From a branding point of view, the biggest change sees the advertising agency change from Ogilvy & Mather to the more straightforward (though no easier to spell) Ogilvy. "We needed to greatly simplify the organisation around what I call an integrated enterprise agenda, not a holding company of all these different piece-parts," the company's chief executive John Siefert told the Wall Street Journal. David Ogilvy's signature was used in a previous logo for the agency The rebrand, which took two years to complete, sees Ogilvy tweak its wordmark's typeface to make it weightier and more in line with a previous handwritten logo based on founder David Ogilvy's signature. "Like our strategic work, the visual identity system has its roots in Ogilvy history," the Collins team explain. Gaps between the letters have also been reduced, with most running into one another - most noticeably the ear of the letter 'g' looping into the tittle on the 'i'. Ogilvy Red remains the core colour behind the brand, although this has been bumped up to a brighter hue to better fit in with a secondary colour palette of grey, blue, pink, and yellow. Accompanying the logo are a pair of re-cut and customised fonts – Ogilvy Serif and Ogilvy Sans – that are both a redrawn version of the existing corporate typeface, Baskerville. With the internal restructuring waving goodbye to global sub-brands, and a new identity that sees some of the biggest updates in the agency's 70 year history, it seems that Ogilvy is staying true to its founders' mantra: Change is our lifeblood. Related articles: 5 small-client rebrands that attracted big attention What's your brand archetype? How to create brand purpose View the full article

A critical Adobe flaw is being exploited in targeted attacks against Windows users. View the full article

Good branding is all about communicating a company's product or meaning through design. With this in mind, we have to give the International House of Pancake's simple but effective rebrand announcement a pass. Posting on its Twitter account on Monday, the breakfast food chain announced that it's flipping the lettering in its logo design, going from IHOP to IHOb. Cue speculation as to what the mysterious 'b' could stand for in the build up to the big reveal on 11 June. Considering that pancakes are famous for being flipped (or dropped on the floor), this letter flip is a clever link between the food and the brand. Last year Golden Syrup tried to incorporate the flip into their celebratory Pancake Day packaging, although they didn't go so far as to turn the lettering upside down. If getting tossed around in a frying pan is a pancake's main selling point, at least IHOP saw this angle through in its branding. Elsewhere on its Twitter account, the social media manager is reduced to posting a barrage of strange and tenuously pancake-related tweets in an effort to drum up attention, possibly running into the same creative obstacles that face not-so-cool companies who struggle to come up with cool branding. So what could the 'b' stand for? Barnacles? Brexit? We'd be amazed if it wasn't breakfast in an effort to better reflect all of the food on offer, especially seeing as Ihop's executive director of communications, Stephanie Peterson, is reported to have said "we’re serious about the quality of food and our menu, and this name change really reflects that." It's a bold move for a company that has traded under the same name for 60 years. Sceptics are unconvinced that the decision is little more than a publicity stunt to tie into a product launch, or perhaps a temporary change in the style of Budweiser's decision to rename itself 'America' in the run up to the 2016 presidential election. Either way, it's a good lesson in how you don't need a big budget to successfully bring together a product and branding, and generate a whole lot of attention in the process. Related articles: The best logos of all time Famous logos redesigned as fonts 11 steps to better logos View the full article

To be a successful JavaScript coder, you'll need to master quite a few essential skills. You can learn them all in one place with the 2018 Essential JavaScript Coding Bundle. With this bundle, you'll learn how to create data structures and algorithms that will pave the way to building engaging websites. You'll also learn how to use the programming language to write functional and user-friendly web apps. You'll dive into the the art of developing cross-platform mobile apps, and you'll even touch upon concepts from Angular 2 and Vue.js 2. By the bundle's end, you'll have worked your way through knowledge it takes semesters to build in a four-year university course. And you'll have done it all for only $29 – 96 per cent off the regular price of $922. Related articles: Animate SVG with JavaScript Is it okay to build sites that rely on JavaScript? 5 of the best JavaScript frameworks View the full article

This environment design would suit a big-budget film This workshop and Photoshop tutorial will take you through my process for painting a grand, fantasy structure set within an epic landscape, as well as revealing some of my drawing tips. You'll see how to handle light, atmospheric perspective and depth, to create a interesting, moody scene. My goal is to produce a memorable image of an immersive setting – an epic moment taken from a big-budget film. This workshop will appeal to those with a particular interest in environment design, who are keen to also develop their composition skills. With this in mind I think it's important to play around with contrasting shapes, apply the golden ratio and then choose an interesting colour palette. I always start with a simple sketch, developing it gradually into a detailed illustration. This workshop will appeal to those with a particular interest in environment design, who are keen to also develop their composition skills It would be a mistake to underestimate the usefulness of the sketches we use to decide on a composition. There's little point working up a detailed image if it lacks a memorable composition and has a dull palette. Such problems would have been highlighted at the sketch stage. So here's my checklist: I like to make sure I have an interesting topic, and a great balance of shapes, proportions and contrasts in the volumes. I track down interesting references to inspire me: these could be photos I've taken, collections of images online or even masterpieces I've seen in museums. I prefer to use my personal photo database as much as possible to avoid copyright issues, but if you're only looking for mood reference, you can have a lot more flexibility. Films are also a great source for inspiration, especially when it comes to the lighting and mood of a piece. The final image should be an invitation to go on a voyage – a journey into a grand fantasy setting, Applying details will help to ground this epic scene, but this isn't the most important thing to get right in the painting process. Remember, composition is key. 01. Sketch on paper Drawing on paper allows for spontaneity I think it's better to sketch on paper, rather than digitally. I find that my gestures become more direct and spontaneous, and the physical connection between my pen or pencil and paper fires up my imagination. My aim at this early stage is to quickly generate a range of interesting compositions. I'll draw some sketches and try out various compositions, with either a Uniball pen or Faber Castell pencil in my sketchbook. I take the time to explore a range of options, from landscape to portrait. I want to develop some elements of composition for the foreground, but at the back of my mind is the need to present an interesting topic, achieve balance in the volumes and generate a detailed composition. I want to illustrate an immense castle with a medieval village at its base. I don't want the fortress to look too realistic, so I exaggerate the scale and the sense of classic fantasy in the composition, and place very small houses at the bottom, and huge towers, arches and buttresses throughout the castle's structure. 02. Create values and mood sketch Depth is established with a monotone sketch I do a more elaborate sketch in Photoshop, using greys, blacks and whites to develop the mood and atmospheric depth. Using a brush set to 0 per cent Opacity helps me focus on positive and negative spaces, pushing strong contrasts and the composition. I also use the Selection tool to cut out shapes, before filling them with a flat value of grey. 03. Gather references Sourcing useful images is an art in itself When painting an environment with elements such as recognisable architecture, it's important to use references – and the best inspiration is to go travelling! Being able to choose the right images to help you to create your own design is an important skill. It's a big part of the job. In fact, when I was working for film as a matte painter, finding the right photos and references was 60 per cent of the work. When you have the right elements to compose with, the work goes much more quickly and efficiently. 04. Block in the composition Images are layered as the composition is explored I put the initial drawing on the top of everything in Multiply mode, so I can follow the original concept closely. I try to keep the layers I did in grey values and I group my textures and references inside these. I don't paint every detail from scratch. This stage of an illustration is one of exploration, but you must know where you're going! This is why a sketch is so important. The other materials are just there to help efficiency and realistic rendering. I was lucky to go on a fantastic trip to the Isle of Skye in Scotland, thanks to Ian McQue. I took many photos, which I've used here. I keep the composition from the sketch, but gradually replace the drawing with elements from my photos, while keeping a homogeneous colour palette. I also try to maintain consistency with the light direction. 05. Establish colour palette Real-world sources influence the colour palette References are important for building a credible palette and atmosphere. When I bring references next to my painting, I try to choose one main direction for the colour palette and the values in the light and shade. For instance, in this painting, the colours of stone in the light and grass in the sun are important and have to be consistent throughout the painting. 06. Refine silhouettes A strong shape helps the building contrast with the scenery Now I refine the composition in the separate layers. This is also where I try to give the image a distinctive mood and style. Some details are important in the silhouette because they contrast with the sky or the brighter background. The great thing about working with layers is that you can colour balance them separately and fake atmospheric depth, as well as lose details in the distance (to create mysterious shapes). I create layers of mist between layers of architecture and backlight the silhouettes of the buildings. 07. Add details for scale reference The landscape is used for reference instead of the building I like the overall mood and composition, but it's not there quite yet. I find that a good scale reference is important, to help the viewer's immersion in the scene. In conventional architectural design, details such as windows and doors are useful for giving the viewer a sense of scale, but in this more fantastical setting, I need to define the scale in the foreground further. So I spend more time adding organic details such as grass, rocks and trees, which will add some life and proportions to the overall setting. I want to add some mystery to the picture as well: some huge trees in the mist are a great addition in among the mountains in the background. I also spend time adding highlights, some details in the rooftops and houses, reworking the perspective, and focusing on adding colour variations and local saturation – all to try and generate a richer mood overall. 08. Break the lines Shapes are broken down and loosened up Refining the shape makes everything look more painterly and is fun. It's time to get rid of the photographic texture as much as possible, and refine and stylise the volumes. I add more erosion and break the shapes, break the lines. Some elements are great for helping to set up the composition, and I like the silhouette to be simple, but it's also important to continue making the setting look less rigid and stiff, to refine lines to make them look more natural and organic. I also add colour variation: I choose more saturated values in the colour palette, but keep the luminance and add some variation in the local colour. 09. Assess your progress Taking stock is crucial before the final polish This is the moment to take a little step back. When I've spent a long time on a single image, taking a break, flipping the image horizontally and vertically is useful: you get to see the image with different eyes. In addition, before finishing a painting, it's good to show it to your housemate, partner, or even to your kids. This is the time when you can still modify important elements of your picture, before going too far in the polish! Remember that polish is good, but first you need to have a good base. 10. Commit yourself Layering down images is a big step Painting with layers is good and bad. Yes, you can work separately, change local elements without compromising the others and there's great flexibility. But it's also more rigid. It's the moment to either collapse your stack, reduce the number of layers and paint over everything (brave, but interesting!). Or you can continue to work with separate layers, but blend them with several tricks. What I recommend is picking values and colours from the background and painting them over with a soft Airbrush, at a very low Opacity. This will affect local colour and simulate a fog that brings colours together. 11. Add storytelling elements Birds help bring the scene to life Usually I add some characters to my scenes to enhance the sense of scale, but also to give a sense of storytelling. I find in this case that the fortress itself is enough and I also want to consider it as the main character of the scene. I add some life, with the birds along the huge towers and buttresses. I also want to have a feeling of a calm, grandiose landscape with an epic, mysterious architecture as a central point of interest. 12. Polish lighting Lighting helps to draw focus on certain areas To ensure that the light comes from the same direction, I accentuate some light on a few key spots: the edges of the arches, on the top of the mountain on the left, and on the side of the castle. These touches will reinforce the direction of the light source in the setting. I also want to have a stronger focal point in the scene, so I use the Dodge tool to darken some areas and lighten others. This stage is key to the whole painting process. I can really polish the lighting in various areas with this tool, and create vignettes in the corners to direct attention away from them. I use the Dodge Tool in Highlight mode, at 10 per cent. Using the Alt key enables me to switch between the darkening and brightening tool. 13. Re-crop and filter Dropping is the final part of the composition Almost done! It's time to play around with filters a bit and try to crop my image, and again take another step back from the screen. Maybe the image works better if it's cropped? Sometimes, when the focal point feels a little lost, it helps to re-centre it. And it can be interesting to test different options with the rule of thirds. Often we tend to put too much in the composition. We also might have made the corners too busy. It's time to get rid of these mistakes and crop in on the interesting parts of your image. Filters can be applied to introduce some texture and blend the colours more. I like to simplify the details with a subtle use of the Smart Blur filter. There's also a way to use textures such as Stucco in Overlay mode on a separate layer at a very low Opacity, to add complexity to the blending of the colours. And this is the finished image! I hope you like it and have fun creating your own stuff! Remember: composition first, details after. This article was originally published in ImagineFX, the world's best-selling magazine for digital artists. Subscribe here. Related articles: 10 sci-fi and fantasy art painting tips Create an atmospheric game environment How to illustrate a Star Wars-inspired environment View the full article

Vue.js has come on leaps and bounds recently, becoming the sixth most forked project so far on Github at the time of writing, even ahead of Facebook’s own ReactJS. It’s safe to say that it’s fast becoming a mainstay in web development, and a reliable go-to JavaScript framework for use in projects. In this tutorial, we’re going to be using Vue.js to create a simple carousel component. This component will accept a number of different properties, enabling you to tweak some basic settings such as transition speed, transition type, and whether the carousel should automatically transition slides. Speed up performance with Vue.JS To get started, download the project files here and open the 'website-template' directory in your preferred text editor. Meanwhile in terminal, CD into 'website-template' and then run 'npm install' to install the projects Node.js dependencies. Finally, run 'npm run dev' to start up a development server so that you can view your project in the browser. Typically this would be at 'localhost:8080'. 01. Create carousel slide files In 'src/components', create a new directory called 'app-carousel-slide' and in it two files: 'app-carousel-slide.vue' and 'component.app-carousel-slide.scss'. These will contain the first of two new Vue.js components that we will be creating, which when used together will create our carousel component. 02. Add carousel slide SCSS From the filesilo package, copy the contents of '/support-files/step-02-slide.scss' into 'component.app-carousel-slide.scss'. This is the SCSS for the slide component, and uses the 'flex-grow' property to make sure each slide expands to fill its parent element. 03. Create the slide component In the empty 'app-carousel-slide.vue' file, add the snippet below to create the structure of the Vue.js component. We’ll use this as a foundation to build the carousel slide. 04. Add a template slot for the carousel slide images In the empty <template> element of the carousel slide, we’ll add a 'div' element to represent the slide, along with a special slot element which we will name 'image'. In Vue.js, slots enable you to interweave your own content with the component’s template without editing it. In this instance, they are used so we can later pass the image for the slide background, so the end result, when ultimately used, would look like '<app-carousel-slide><img src=’’ alt=’’></app-carousel-slide>'. The Vue.js team have recently released a style guide for the framework. This is full of useful examples, rules and recommendations that every Vue.js developer should check out 05. Add the slide text container All that remains for the slide component is to build the text container. We will be using slots again, one for the larger slide title and one for regular text. We will also be using a Vue.js directive called 'v-if' to add logic, which only renders the text container if at least one of the slots is passed content. Add this snippet in 'c-app-carousel-slide', just before the ‘image’ slot. 06. Create carousel files Back in 'src/components', create a new directory called 'app-carousel' and then within it two new files: 'app-carousel.vue' and 'component.app-carousel.scss'. These will hold the second of the two Vue.js components: the main carousel itself. The style guide is split up into four sections, providing rules which are considered Essential, Strongly Recommended, Recommended, and Use with Caution. Find out more at 07. Add Carousel CSS Copy the contents of '/support-files/step-07-slide.scss' into the empty 'component.app-carousel.scss'. This is the SCSS for the main carousel component. 08. Create carousel component Next in 'app-carousel.vue', we’re going to build the structure of the carousel component. We’re importing the ‘appIcon’ component and the 'arrow' svg for later use in the carousel's next and previous icons. These work together with the 'svg-sprite-loader' dependency to generate a basic SVG icon system, which works using SVG 'symbols' and its 'use' element. 09. Build the carousel template Let's start adding content to the empty template element. The main area of interest here is the 'c-app-carousel__container' element, which we'll shortly calculate a width for based on the number of slides found within it. We'll then move the container using CSS transform:translateX and transitions to simulate slide movement. 10. Add the carousel controls and arrows We then need to add the HTML for the carousel controls container and the previous and next arrows; the latter using the icon system and svg imported in Step 8. Add these after the 'c-app-carousel__wrapper' element. 11. Create the carousel data store and add properties We’re going add three new properties to the component’s data store: 'slideTotal' will hold the total number of slides; 'activeSlideIndex' will record the index of the visible slide so it can be used to calculate the container’s position; while autoInterval will record the interval timer which will trigger an automatic slide transition. All of these are set to null, with the exception of 'activeSlideIndex', where the '0' value indicates that the first slide should be the default slide. 12. Calculate slideTotal Add 'ref=”container”' to the 'c-app-carousel__container' element in the template and then add the snippet below as a property of the component object itself. 'ref' is used to give easy access to an element, which in this case is the container so we can count how many child elements (aka slides) it has. The presence of this logic in a 'mounted()' function means it is then automatically run when the component is first rendered. 13. Calculate container width In the component, create a new object property called ‘computed’ and within it, a new function called 'containerWidth()'. We’ll use this to calculate the width of the carousel container based on the 'slideTotal' figure. 14. Create methods Next, create another object property called 'methods' to store our carousel's functions. 'goToSlide()' is an easy way of setting 'activeSlideIndex' from Step 11, 'isControlActive()' returns true when a control's index matches 'activeSlideIndex', while 'nextSlide()' and 'prevSlide()' will simply cycle through the slides. 15. Calculate the carousel’s container position The carousel uses a percentage value with transform:translateX and CSS animation to simulate slide transition. Add the below snippet to the 'computed' object so we can calculate this value. In this test carousel Vue app, each component is documented. With some, such as the app-button component, the documentation is minimal. With others, for example the app-carousel-slide components, there's much more information that developers need to know 16. Compose inline CSS Now we have all the values to correctly position the carousel slide container, we need to construct the CSS which we'll then add to its 'style' attribute. We'll add this logic as another function in the 'computed' object. 17. Bind inline CSS Add the below snippet to the 'c-app-carousel__container' element in the template. This will bind the returned value of 'containerStyle()' from the previous step to the 'style' attribute of the carousel container, meaning that its CSS and therefore its position will automatically be updated when things change. 18. Hook up next/previous arrows We now need to add logic to the next/previous arrows so that the correct method from Step 14 is called when each respective arrow is clicked. The 'prevSlide()' snippet belongs on the 'c-app-icon-arrow-prev' element, while 'nextSlide()' belongs on the 'c-app-icon-arrow-next' element. The 'v-on' directive is just an easy way to set up event listeners in Vue.js, with 'click' being the DOM event that we are targeting. 19. Generate carousel controls Let’s generate the control elements and make them show the corresponding slide when clicked. Add the below element in 'c-app-carousel__controls' . The 'v-for' directive is used to create an amount of control elements matching the 'slideTotal' variable, whilst the 'v-bind' directive enables the 'is-active' class only when the 'isControlActive' method from Step 14 returns true. Finally, we're creating another event listener through 'v-on' so, when clicked, the control calls the 'goToSlide' method and passes its index, which should match the index of corresponding slide. If working on a Vue.js project with other developers, you need to properly document a component so others can understand how it's used. Include a brief overview of its purpose, an example usage snippet and info on properties 20. Import components Let's now go back to the top level 'app.vue' component and import everything. Just after the opening <script> tag, import the component '.vue'. files: Next, amend the 'components' object so it references these newly imported components. Finally, in the <style> tag, import our new SCSS with the rest of the component imports. 21. Add carousel and slides Finally, let’s add our new carousel component and some slides to the main app. Still in 'app.vue', replace the 'Under Construction' with the snippet below. Each <app-carousel-slide> element represents a single slide. Add as many as you like, replacing the text or image where desired. Included are 'test-photo-01.jpg' to 'test-photo-05.jpg'. Once that's finished compiling, everything should now work. Huzzah! 22. Add flexibility to the carousel Now we have a working Vue.js carousel, let's add some additional functionality so we can easily customise the duration of the slide transition, its timing property, declaring if slides should auto-slide, and if so how often. Reopen 'app-carousel.vue' and add the properties in the snippet below to the component object. 23. Amend containerStyle() The values passed to these properties should make their way to the carousel's inline CSS from back in Step 17. Now let's amend the 'containerStyle' computed function to make sure that this happens. 24. Pass data to the carousel properties The below snippet illustrates how we would pass data to these new properties to the <app-carousel> element in 'App.vue'. Once added, you should be able to pass whatever values you wish. For example, a "3.0s" duration would result in a very slow slide transition! 25. Adding auto-slide props For auto-slide, we need to add two additional objects to 'props' in 'app-carousel.vue'. 'auto' is either 'true' or 'false', which corresponds to if the carousel should continue to auto-slide. 'autoTiming' controls the time before auto-slide triggers, with the default value being 5000 milliseconds. 26. Initiate auto-slide Now we need to initiate auto-slide on component load. In the carousel's 'mounted()' function, after the existing content, check if the 'auto' property is set to 'true'. If so, create an interval which triggers the 'nextSlide()' method repeatedly once the 'autoTiming' value has passed. How the carousel works: simply put, the trick is that the slides themselves don’t move, but the container element which holds the slides in place does 27. Cancel auto-slide method Obviously, we need some way for the user to disable auto-slide if they have expressed a desire to operate the carousel manually. The first step towards this is a new carousel method called 'cancelAutoSlide'. This will simply cancel the interval created in the previous step. 28. Trigger cancelAutoSlide If the user clicks an arrow or control element, it's reasonable to assume that they wish to operate the carousel manually, so let's call the 'cancelAutoSlide' method if any of these elements are clicked. To do this, simply add '+ cancelAutoSlide()' to each elements 'v-on' directive. See the snippet below for an example using the 'previous' slide arrow. 29. Pass values to the auto-slide props Finally, let's pass some values to the auto-slide properties we've created. Back in 'app.vue', add the below snippet to the <app-carousel> element to enable an auto-slide every three seconds. 30. Finish building the carousel component Cancel the development server, or open a new terminal window, and run 'npm run build' to create a compiled, production-ready version of your Vue.js powered carousel component in the 'dist' directory. This article was originally published in issue 269 of creative web design magazine Web Designer. Buy issue 269 here or subscribe to Web Designer here. Web design event generate London returns on 19-21 September 2018, offering a packed schedule of industry-leading speakers, a full day of workshops and valuable networking opportunities – don’t miss it. Get your generate ticket now. Related articles: 7 essential tools for today's web designer Add a glitch effect to your website 6 amazing 'About' pages to inspire you View the full article

Star Wars actress Kelly Marie Tran recently removed all posts from her Instagram account, with many attributing the move to months of racist and sexist abuse over her role as Rose Tico in 2017's The Last Jedi. The Vietnamese-American star became the first woman of colour to play a leading part in the iconic series, and, while there has been no official confirmation from Tran as to why she has vanished from the photo-sharing social network, fans have already come out in force to show their support. Using the hashtag #FanArtForRose on Twitter, artists all over the globe have been paying homage to Tran and her character Rose with the most beautiful incredible artwork. And it's gaining a lot of momentum, with the film's director Rian Johnson sharing it, and Vanity Fair's Joanna Robinson calling for help to get the hashtag trending. The art community force Tran played mechanic-turned-Resistance fighter Rose Tico in the 2017 version of the Last Jedi - a film that some might say isn't the best in the iconic series. But much of the upset was fired directly at Tran, with some fans targeting her appearance and ethnicity. It's incredibly sad to think Tran has removed herself from social media due to the hate and ignorance of some others. And while the #FanArtForRose hashtag should never have been necessary, we really hope she gets to witness what has been a pretty special 24 hours of love and support. What could be better than her sharing some of this stunning artwork on her hopefully soon-to-be-reactivated Insta account? Although it may take her a while as there are literally hundreds of f stunning illustrations to choose from - here are some of our favourites... Lead image: Jen Bartel View the full article

Researchers said they now believe the malware has infected twice the number of router brands than previously stated and that the malware packs a much deadlier punch. View the full article

An exploit allows attackers to remotely overwrite archive files with their own content, and from there pivot to achieving remote command execution on the machine. View the full article

Photoshop CC is the creative weapon of choice for many designers. Its Pen and Brush tools are some of the most powerful, user-friendly aspects of the program. In this Photoshop tutorial, we’ll focus on the Pen tool (there’s a separate article with tips on how to use Photoshop’s Brush tool). The Pen tool is a simple selection feature that enables you to fill, stroke or make selections from whatever you draw. You can even apply brushes along the edges of selections. In this article, we’ll provide some pointers on how to use Photoshop’s Brush tool, and give advice for getting the best from it. Fill a path Click the icon in the top right to enlarge the image Select the Pen tool using the shortcut P. To make a selection, click two points to create a line between them, and drag a point to create a curved line. Use Alt/opt-drag your lines to change them. Ctrl/right-click your path in the Paths tab on the right, and then choose Fill Path to create a shape from it. Click the icon in the top right to enlarge the image Change the Contents to either Foreground or Background, depending on the colour swatch you wish to use. Use Content Aware if you wish to fill with pixels from the rest of the image. The Blend mode and Opacity of the fill will determine how the pixels react with other pixels below. 50 per cent Opacity, Screen, for example, will give a subtle lightening to your shape. Use Feather Radius to soften the edges of the shape you're filling. To create a completely hard shape, leave this at 0px. Make a selection Click the icon in the top right to enlarge the image As well as being a proficient drawing instrument, the Pen is a useful selection tool. You can select shapes to brush into. cmd/Ctrl+click a path to select it once you've made a shape, or Ctrl/right-click a path and pick Make Selection. Click the icon in the top right to enlarge the image Make a new selection (left in the image above), or add (cmd/Ctrl+Shift+click) or subtract (cmd/Ctrl+Alt/Opt+click) a selection if pixels are selected on your layer. Double-click a path and give it a name to save it as a future selection (Paths palette shown on the right above). These paths will appear as a list down the Paths tab. Click the dotted outline icon in the menu at the bottom of the palette to make a selection. Alternately, use the Delete, Mask and New icons as you would in the Layers palette. Stroke a path Click the icon in the top right to enlarge the image Ctrl/right-click a path and choose Stroke to apply a line across the selection in whatever brush you have selected. For this particular line of the chandelier, we used a scatter brush to evenly space the dots. Use the drop-down in pop-up shown to change the tool you're using to stroke the line with – for example, instead of whichever brush file you have selected, you may wish to switch to a pencil. The Simulate Pressure checkbox applies the pressure you’d usually use when creating a stroke with the Brush tool, meaning your line will taper off at the end. Click the icon in the top right to enlarge the image The toolbar at the top of the interface enables you to quickly decide on the Stroke and Fill colour of whatever you create with the Pen tool, instead of having to choose it manually. This article was originally published in ImagineFX, the world's best-selling magazine for digital artists. Buy issue 159 or subscribe. Read more: The 40 best Photoshop plugins 5 best laptops for Photoshop Photoshop shortcuts to speed up your workflow View the full article

Whether you're excited about the possibilities of AI in design, or are terrified that the robots will come and steal your job, one thing's for sure – the right kind of automation can save us all time. You may already be taking full advantage of pre-programmed Actions in your favourite Creative Cloud program, for instance, to speed up your workflow and cut down on repetitive tasks. Good for you. But have you considered how other time-sucking jobs could be automated? Read on for eight invaluable tools for designers that can help automate common business tasks, so you have more time to be creative... 01. Automate time-draining email tasks Email can eat up hours of the day if you don't manage it carefully. One popular technique to keep it at bay is to check your inbox only at particular times of the day, to avoid new messages acting as constant distraction. There are also plenty of ways to automate certain tasks within your email inbox to reduce that daily hassle even more. First and foremost is an autoresponder, a function available with almost all email clients. These don't have to be restricted to out-of-office alerts when you're unavailable. Autoresponders can also be used to tell people when they can expect to hear back from you (keeping anxious clients who expect immediate responses at bay), as well as outlining circumstances in which you won't reply. You can include your soonest availability – sure, you may need to update it regularly, but at least you only have to do it once each time. By setting up rules and filters within your inbox, you can also tailor responses according to key groups, such as current or past clients. 02. Do common tasks at the touch of a bttn Most of the tools on this list are digital apps that streamline how you do run your design business. But we're kicking things off with something delightfully analogue. Available in a range of colours for all your dramatic button-pushing needs, a bttn is an enormously satisfying way to automate everything from a simple action to a whole workflow, just by slamming your fist on your desk. It either comes Wi-Fi enabled, or with a 12-month 2G data plan – and can be programmed as a simple shortcut to anything from reordering supplies, to booking your favourite meeting room, to booking a taxi. 03. Automate repetitive social updates Social media is a personal, conversational thing, and to build your brand effectively online you need to engage in conversations, comment and reply to people – this is the kind of thing that can't be automated. But it is possible to automate more repetitive social tasks that are tied to your marketing and self-promotion efforts. Scheduling tweets or posts – particularly for campaigns that run over several days or weeks, any particular times of day – is an absolute no-brainer, and can be done using tools such as Hootsuite or Buffer. You can also save a lot of time by linking your social channels together, particularly for portfolio updates. Using feeds from Instagram, or Flickr, or YouTube, or whatever your platform of choice is, you can automatically populate Twitter, Facebook or LinkedIn with updates, for example. As with email, to aid your productivity you can also be selective about when you do so to cut down on the constant distractions that social media notifications can cause. 04. Automate invoice chasing with FreshBooks One of the most soul-destroying, and time-consuming, tasks for freelancers is the necessary evil of invoicing clients, and even worse, chasing them up afterwards. There are many tools available to handle the financial side of running a design business, including keeping track of expenses, invoices and general accounting matters – popular tools for freelancers include FreeAgent and Solo. FreshBooks is another alternative, pitched at small businesses and freelancer. Following a 30-day free trial, payment plans start from $15/month. Not only do tools like FreshBooks and FreeAgent automate the creation process for estimates and invoices, you can also set up automatic reminders for late-paying clients, straight from the app – saving you time, as well as cutting back on awkward email follow-ups. 05. Follow-up with clients using Streak Of course, client relationships are a lot more complex than just sending and chasing invoices – and as with social media scheduling, there's a limit to how automated the process can be without losing the 'relationship' bit. That's not to say that certain repetitive tasks can't benefit from a bit of careful pre-planning, though. Simple things like a courtesy follow-up 30 days after a project is complete can be easily automated, and kick-start a conversation from there. Streak is a free Client Relationship Management (CRM) plug-in for Gmail, which enables you to organise clients into different work streams, schedule emails, keep track of projects at different stages and much more. Key stages of a project that can cause bottlenecks, such as when feedback is due from the client, can also benefit from automated reminders – just make sure the template is suitably customised and written in your voice, so it doesn't seem like a robot is chasing on your behalf. 06. Collect your business receipts with Wave If you currently collect expense receipts in a shoebox and keep your accounts in a rudimentary Excel spreadsheet, there are plenty of tools to make that easier. As well as chasing clients for you, FreeAgent and FreshBooks also give you the option to automatically import bank transactions – saving a huge amount of time keeping track of, and itemising, expenses. Another useful book-keeping tool is Wave, which comes with a free app called Wave Receipts. Just take a photo of the receipt, and it'll automatically import it for you. No more panic come tax return day! 07. Send electronic contracts with Hellosign Keeping track of contracts and NDAs can be a time-consuming nightmare, especially when amends need making at both ends before being counter-signed, or different clients need subtle tweaks to be made to the agreement. Hellosign makes multiple Word doc versions of contracts a thing of the past, by automating the process. You just upload your contract template, customising it with as many editable fields as required. Each time a client needs a contract, fill in the editable sections within Hellosign, and the app will send it out to them to be signed electronically. 08. Create a reusable project template in Asana There are plenty of project management and productivity tools for designers out there – two of the most popular are Trello and Asana. If Asana is your tool of choice, try automating part of the process by setting up a versatile project template that includes all the generic documents, files and tasks that your projects have in common, as well as a standard timeline of key milestones. It'll save you a lot of time adding these each time. No two projects are identical, but at least it will give you a stable framework to start from and customise as required to suit each client. Related articles: The freelance survival guide 10 best portfolio templates for designers 6 ways to save money as a freelancer View the full article

Only a few years ago, the idea that every digital artist could afford technology that enabled them to draw directly on to their screen was fanciful. Today, we not only have iPads and Android devices that provide this facility, but the options for artists on desktop and laptop computers have greatly increased. XP-Pen's newest drawing tablet is a case in point. It's a generously sized 15.6-inch screen that costs just under £400. The days when you had to sell your car to afford a Cintiq are over. Buy Artist 15.6 tablet Nor are there any apparent compromises that make the Artist 15.6's competitive price possible. Open the classy packaging and you're greeted with a slim but solid flat panel, with six shortcut keys down one side. Pleasingly, you can rotate the display orientation to position the keys to suit right- or left-handed use. The slim-line design of the Artist 15.6 means there's no adjustable stand to prop up the display, so you'll have buy a stand or improvise with a paperback Setting up the Artist 15.6 is a little involved, but you only need to do it once. The cable connecting your computer and the tablet uses a single USB-C port to plug into the tablet. At the other end, though, is a multi-headed hydra of leads: one HDMI to feed the video (an adaptor for Mini DisplayPort is provided); one USB to relay the pen information; and a second red USB to provide power. If you own one of the small but growing number of laptops that use USB-C, you'll need an adaptor to plug in the Artist 15.6. Note: if you use a USB-C MacBook Pro, then the Digital AV Adaptor you need is a hefty £69. You also need to install drivers, either from the provided CD or via the XP-Pen website. This includes a tool for calibrating the stylus and configuring features. It's worth noting that the Windows tool offers more options than the Mac OS equivalent. The stylus doesn't need a battery to operate. The rocker switch enables you to switch between pen and eraser easily The screen itself has a matte surface. The picture isn't as bright or colourful as you'd get from a glossy screen, but its surface is better for drawing on: it has more 'bite'. And drawing and painting on this tablet is a pleasure. The screen size frees you up to make expressive brush strokes, and the pen pressure sensitivity is responsive enough to keep your lines flowing. The Artist 15.6 isn't perfect. There's no stand included for people who prefer to draw at a slight angle; and there's a little too much visual offset between the point of the stylus and where the cursor appears on-screen. You get used to it when painting, but it makes precise work trickier. Yet these are really quibbles within the context of having an expansive drawing surface on a decent-quality screen, for relatively little outlay. The Artist 15.6 can transform your digital art experience for the better. This article originally appeared in issue 159 of ImagineFX, the world's leading magazine for digital artists. Buy issue 159 or subscribe here. Related articles: The best drawing tablet for kids 2018 10 essential tablet accessories Wacom launches new Wacom Cintiq Pro graphics tablets View the full article

Working at home and being your own boss may be a lot of fun, but it also requires a lot of self-discipline, across-the-board knowledge, and the ability to juggle many things at once. Things like launching a marketing campaign, building a website, and maintaining good accounting practices will all fall on you. The Work-At-Home Super Bundle can help you learn the skills you'll need to navigate the world of self-employment. With 23 eBooks, one audiobook, nine online courses, and four printable packs at your disposal, you'll identify the habits and skills you'll need to adopt in order to have a successful self-employed venture. You'll learn how to create a healthy work-life balance, and discover tips for maintaining the financial and legal sides of your self-employment. The Work-At-Home Super Bundle will get you up to speed for only $39.99, a saving of 97 per cent. Related articles: The expert guide to working from home 12 tips for the work-at-home ninja Expert tips for working from home View the full article