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Foxit Software says it will fix two vulnerabilities in its PDF reader products that could be triggered through its JavaScript API to execute code. View the full article

Having the right video editing tools can make a world of difference. That's why we've put together our pick of the best laptops for video editing – after all, choose the wrong one and you'll waste hours in post-production wrestling with erratic touchpads, squinting at pixelated images and drumming your fingers as your work slowly exports. These five fantastic laptops will make video editing a doddle. As well as our pick of the best overall machines, we'll tell you the best video editing laptops for under £500 and £1,000. And whether you're a Mac fan or a Windows wizard, we have the laptop for you. Plus, check out our favourite video editing software for an idea of what to run on these great machines. It might not surprise you to see Apple's most powerful laptop ever at the top of our list. The eye-catching Touch Bar may have attracted all the headlines on release, but it's the remarkable power, immaculate Retina display and vast trackpad that make it the best for video editing. Mac devotees will nod sagely when we say that the software on Apple's computers is the ideal companion for post-production. And if you've never used a Mac before, now might be the time to start. Read our sister site TechRadar's review of the MacBook Pro with Touch Bar Last year's Windows 10-based Dell XPS 15 is quite exceptional and pushes the MacBook very close to the title. It's a wonderful-to-use piece of kit in every department. The beautiful combination of 4K 3840x2160 resolution InfinityEdge display (the bezel is barely there) and top-of-the-range graphics card will make your footage sing as you chop and cut. And you can pay extra to ramp up the RAM to a hefty 16GB. Rapid. Read TechRadar's full Dell XPS 15 review The Microsoft Surface Book wasn't far off toppling the XPS 15 for best Windows laptop for video editing, but it waltzes to best 2-in-1 laptop-tablet hybrid with ease. Give the screen a tug and it satisfyingly detaches from the keyboard, allowing you to use it as a tablet. That's handy if you have a work in progress that you want to pass around a table. But, coming with the Surface Pen stylus, it also means you can get more control using the touchscreen. And as a laptop in its own right, it's extremely powerful. Read our full Microsoft Surface Book review Despite Apple's reputation for great expense, you don't have to pay top dollar for the sleek, powerful pleasure of owning one of its machines. The super-slim MacBook Air makes for a brilliant sub-£1,000 video editing machine. The processor speed has just been upgraded to 1.8GHz and the default RAM has been boosted to 8GB instead – meaning silky smooth processing and fast exporting. Read TechRadar's full MacBook Air review It isn't easy to find a decently specced laptop, with a large screen and still get change from £500. But that trusty stalwart HP has somehow managed to produce a cheap laptop that isn't a disaster zone. This isn't one for the pros, but if you're a beginner or keen amateur learning the ropes of video editing, the Pavilion is a good choice. Even the entry-level models have loads of storage for rolls of footage, and a little extra cash can get you more Ram, a better Intel processor or a full-HD display. Read TechRadar's Pavilion 15 review Related articles: 6 great video editing apps for mobile The best laptops for graphic design View the full article

The KLF – also known as The Justified Ancients of Mu Mu, The JAMs, The Timelords, The K Foundation, 2K and K2 Plant Hire Ltd – were, for a brief period in the late 1980s and early 1990s, a notorious and mysterious force in pop music. Variously described as art terrorists, situationist pranksters, geniuses, anarchists and scam artists, The KLF hold a unique place in modern popular culture. Who else would burn a million quid, and then sign a 23-year moratorium on talking about why? This self-imposed ban comes to an end tomorrow (23 August 2017). To mark it, The KLF's Bill Drummond and Jimmy Cauty are releasing a book, 2023: A Trilogy – and hosting a suitably bizarre three-day event in Liverpool, UK, called Welcome to the Dark Ages. Only 400 tickets went on sale. At £100 (around US$130) a shot, they were snapped up in minutes. If the KLF know one thing, it's how to build a brand. On the eve of the event, we take a look back at The KLF’s most notorious moments, before distilling 10 pro tips for building a design business like The KLF on page 2. (Skip straight to the tips here) An auspicious start Starting out in 1987, Bill Drummond and Jimmy Cauty immediately grabbed the attention of the music press with their debut album, 1987 What the Fuck Is Going On? – a messy mix of hip hop beats, Glaswegian rap and uncleared samples. Soon after, they grabbed the attention of ABBA, who sued them for sampling virtually all of their song Dancing Queen on the track The Queen and I, resulting in the album being withdrawn. A year later they had a number one single as The Timelords with Doctor in the Tardis, a heady blend of the Doctor Who theme music and Gary Glitter's Rock and Roll Part Two. They then wrote about it in their book, The Manual: How to Have a Number One the Easy Way, an only partly tongue-in-cheek breakdown guide to making a hit record and getting it to the top of the charts, with a money-back guarantee. The pair went on to release a series of 12-inch trance singles, tried to make a road movie, recorded a classic ambient album – 1990's Chill Out – then finally hit the big time later that year with What Time is Love?, a driving dance number reworked from one of the earlier trance tracks, and the first part in their Stadium House trilogy. Five more hit singles and an album, The White Room, followed over the next 18 months, until in early 1992 they dramatically left the music industry after performing a death metal version of 3AM Eternal at the Brit Awards with Extreme Noise Terror, the performance culminating in Bill Drummond firing a machine gun loaded with blanks into the audience. Art terrorists With their entire back catalogue deleted, they turned their attention on the art world, becoming The K Foundation and sponsoring a £40,000 prize for the worst artists of the year, announcing the winner, Rachel Whiteread, on the same day that she won the 1993 Turner prize. They also attempted to build their own body of artwork entitled Money: A Major Body of Cash, based around large amounts of money. The first piece, Nailed to a Wall, consisted of £1 million in £50 notes, nailed to a framed board. Unable to find galleries willing to host an exhibition, in 1994 they found another use for this million pounds. The KLF took it to the Scottish Isle of Jura and burned it in an abandoned boathouse while their collaborator, Gimpo, filmed them. Since the dissolution of The K Foundation, both Drummond and Cauty have worked as artists. Jimmy Cauty most recently came to prominence with his dystopian diorama, The Aftermath Dislocation Principle, a giant post-apocalyptic model village that was a major attraction at Banksy's Dismaland exhibition. Drummond's own, singular artistic career has at times consisted of building beds and dry stone walls, distributing flowers and making soup. In 2014, he started his own world tour in Birmingham, in which he was scheduled to visit 12 cities in 12 different countries, producing 25 paintings and working on other art projects before returning to Birmingham on 28 April 2025. Welcome to the Dark Ages 2017 - what the heck is going on?So as we said, on 23 August 2017, Drummond and Cauty's self-imposed moratorium on talking about why they burned a million quid comes to an end. Details of their Liverpool event, Welcome to the Dark Ages, are deliberately vague. However, all ticket holders are expected to be volunteers for whatever The Justified Ancients of Mu Mu (The JAMs) have planned over the course of the three-day event. Whatever transpires, it promises to be a unique happening. Next page: 10 tips from The KLF for building a design business For anyone working in the creative industry, there's a lot you can learn from the KLF. Want to make waves? Here are our tips for building a design business like The KLF... 01. Start today Tired of sitting at a desk making money for someone else? Want to break out on your own? Bill Drummond imparts some sterling advice in the introduction to The Manual. "If you want to do something – REALLY want to do something – don't wait to be asked. Don't seek permission. Don't put off until you have passed the right exams or saved up enough money. But be prepared to risk complete failure. "Don't give a shit about whatever your mates or your girlfriend or boyfriend think. Whatever it is – start now, today. Tomorrow is always too late." 02. Get a business partner Key to The KLF's success was the mix of Bill Drummond, a former music industry executive and band manager, and Jimmy Cauty, a musician and artist whose Lord of the Rings poster for Athena hung on many a student's bedroom wall in the 1970s. Their skillsets complemented each other perfectly. However good you are, a like-minded collaborator will fill in the gaps and raise your game, and keep you going when things seem bleak. 03. Make it heroic Like other great men, such as Jesus and Harrison Ford, Bill Drummond started out as a humble carpenter, building stage sets at Liverpool's Everyman theatre. Theatre legend Ken Campbell – who in 1997 would direct Bill and Jimmy's one-off 'Fuck the Millennium' performance at London's Barbican – rejected Drummond's original set designs for the Science Fiction Theatre of Liverpool's nine-hour performance of The Illuminatus! Trilogy. But Campbell gave Drummond the following advice: "Bill, don't bother doing anything unless it is heroic." These sage words doubtless inspired The KLF's epic videos and Top of the Pops appearances. If you want to make a name for yourself, apply these words to your design work. 04. Create your own look One area in which The KLF excelled was in defining its own distinctive style. It used one typeface across nearly all of its work – Compacta Bold – coupled with a handful of instantly recognisable logos designed by Jimmy Cauty, and even invented its own musical genre for its biggest hit singles: Stadium House. Take a similar approach: come up with your own selection of visual cues, a preferred typeface, a stand-out colour palette, and use them on your portfolio site, your press releases, in your self-initiated work – anywhere you might be noticed. You could even go one step further and invent a name for your particular look. Make sure people hear about it. 05. Recycle and remix You know what it's like when you do a piece of work that you really love but it doesn't get the attention you think it deserves, right? Follow The KLF's example: hold on to it and come back to it later. It had an insatiable appetite for sampling not only others, but itself, and for reworking its old tunes. What Time is Love?, the band's signature track, went through four quite different releases – the original Pure Trance mix; the Stadium House version called America: What Time is Love? with loud guitars and rock vocalist Glenn Hughes thrown in; and 1997's Fuck the Millennium, with added brass band and swearing. If something didn't quite work before – or it did, but you think it could work better – revisit it, remodel it, bring it bang up-to-date and try again. 06. Share your wisdom Get a load of that Compacta BoldAfter getting their first number one record as The Timelords, Drummond and Cauty wrote a book explaining how anyone could do it, with an irresistible guarantee. "We guarantee that we will refund the complete price of this manual if you are unable to achieve a number one single in the official (Gallup) UK charts within three months of the purchase of this manual and on condition that you have fulfilled our instructions to the letter." The genius of this guarantee, of course, was that if you really did follow their instructions and fail, you'd be in thousands of pounds of debt to studios, manufacturers, distributors and others. Regardless, people love to learn how things are done. If you've created an important piece of work, write up a case study and publish it on your website or send it to the design press. 07. Grab all the publicity you can The JAMs turned the ill-fated trip to Sweden to try to meet ABBA into an album coverThe Justified Ancients of Mu Mu (The JAMs) – named, of course, after an organisation in Robert Shea and Robert Anton Wilson's Illuminatus! Trilogy – mastered self-promotion, seizing all manner of opportunities for a bit of publicity, from graffiti campaigns through to commissioning a crop circle in the shape of its pyramid blaster logo. Sometimes – though not very often – the group even gave interviews. The problem today, of course, is that everyone's wiser to the tricks that used to work for The JAMs. If you want publicity, you'll need a clever and engaging angle, and you'll have to work for it. Look at everything you do and everything that happens to you – even setbacks, such as being sued by ABBA – and ask yourself if there's a way you can turn it into worthwhile publicity. Nobody said it was going to be easy. 08. Collaborate with the best The KLF had all manner of unwitting collaborators in the early days – it just sampled the likes of Whitney Houston, Petula Clark and, yes, ABBA and mostly got away with it. Later, when The KLF became a big-name act, it managed to convince the queen of country music, Tammy Wynette, to sing about driving around in an ice cream van on hit single Justified and Ancient. "While Jimmy got on with the track, I went into the office and picked up the phone," Drummond wrote in The Guardian. "10 minutes later, after three or four calls, I am actually talking to Tammy Wynette, just before she goes on stage in Chicago. We play her the track down the phone and she agrees there and then to record the vocals with us." Want to work with one of your design heroes? Ask them. Tell them what you're about and why you'd make amazing stuff together. The worst that can happen is they'll say no. 09. Know when to call it a day Eventually, pop stardom took its toll on The KLF. Drummond's machine gun antics at The Brits in 1992 were a lot tamer than his original plan, which was to chop his hand off on stage and lob it into the audience. If it all gets too much for you – if you're facing a constant stack of deadlines, not getting a chance to enjoy the fruits of your labour and just not feeling the passion that drove you to start all this in the first place – it's alright to quit to do something else. Travel the world, learn a new skill or just have a change of scenery. Better that than become an embittered old hand, sniping from the sidelines. 10. Don't burn a million quid Not even if you've got a million quid spare and it seems like a good idea at the timeJust don't, right? It's already been done. Over and outRelated articles: If celebrities were Pantone colours Top designers reveal their first paid commissions How to craft a brand voice View the full article

Whether you're just learning how to draw and paint or you're a pro composing a new piece, there are some basic drawing and painting techniques and guidelines, like the Golden Ratio, which, if you stick to, will help you to improve your art and design. The rule of thirds – used frequently by photographers – states that if you divide any composition into thirds, vertically and horizontally, then place the key elements of your image either along these lines or at the junctions of them, you’ll achieve a more pleasing arrangement and more interesting and dynamic compositions. Painters and artists use the rule of thirds mostly for landscapes, but it also works for any subject matter, including still lifes, figures and even portraits. The rule of thirds works for many art genres – we show you how to use it on the next pageThe rule of thirds gives you a guide for placing focal points. If you design your focal points according to the intersections of any of the nine rectangles, your picture will have the counterbalance needed to make the composition more interesting and more compelling. You can also design other elements in the picture to lead the eye from one of the focal points to the other, and use the corners to bring the viewer into the picture or keep the eyes moving back into picture again. This kind of eyeflow adds movement and life to any composition. On this page, we'll look at how artists have used the rule of thirds to create dynamic compositions. 01. Origins of the rule of thirds The rule of thirds is a compositional guideline. Its origins go back to classical and Renaissance paintings, but it is mostly known as a compositional tool used by photographers. This painting by Valentin de Boulogne shows how the main characters are all placed on the upper dividing line, creating a dynamic arrangement of figures. 02. The rule of thirds in landscapes The rule of thirds is mostly known as a tool for composing landscapes. In this painting by Pierre Henri de Valenciennes, the horizon is placed in the lower thirds, and the large mass of mountains and scenery is placed in the left section, to create a more dynamic scene. 03. The rule of thirds for asymmetric compositions Use the rule of thirds to create asymmetry without chaosThe main function of the rule of thirds is to help create asymmetric compositions. If the elements in a picture are centred and too balanced, it becomes boring. If the images are offset using the rule of thirds, the asymmetry and counterbalance of elements creates a much more dynamic picture. 04. Place focal points with the rule of thirds Place focal points and other points of interest at intersectionsAnother great way to use rule of thirds is to help place focal points. In this portrait painting, the eyes fall on the upper horizontal line and leads to the second focal point in the ear. Other points of interest such as the warm triangle of light also fall on an intersection of guidelines. 05. Guide eyeflow with the rule of thirds Eyeflow is another great use of the rule of thirds. In this painting by Rubens, the main focal point of the boar is placed at an intersection. Secondary points of interest fall on intersections as well and the action of the poses lead the eye from one focal point or intersection to another. Next page: How to use the rule of thirds in your artworks (in three quick demonstrations) By following the guidelines and intersections created by the rule of thirds, you can more easily create compositions that are asymmetric and much more dynamic. Now we've seen the rule of thirds in action in other artists' paintings, it's time to show you how you can use the rule of thirds to create your own artworks. These three quick tutorials show you how the rule can be applied to a still life painting, an architectural drawing and a figure painting. Still life Our first demonstration uses the rule of thirds to compose a still life painting. 01. Set the scene using the rule of thirds Use the rule of thirds to guide your still life compositionBegin by arranging your objects so that the composition lines up with the guidelines and intersections created by the rule of thirds. The banana and shadow here follow the bottom guideline while the highlight on the mango falls on the upper-right intersection, creating a dynamic focal point. 02. Use intersecting guides Use intersections as drawing guides and also to inform your lightingThe next step is to create the drawing using the intersections as guides. Creating a value thumbnail now also means you can plan your dark value composition. Here, the lower and left thirds are dominated by darks while the bright highlight in the upper section creates a dynamic focal point. 03. Block in Block in dark shadows, adjusting to follow the guidelinesBegin the painting by blocking in the dark shadows and adding more saturated colours into the shadows and transition tones. To make the composition more dynamic and asymmetric, straighten the drawing of the banana’s shadow. This gives it a stronger horizontal alignment with the bottom guideline. 04. Add colour Add colour, again following the layout of the gridNext, add the half-tone shapes and more colour. Here the upper third is entirely a dark mid-tone that will help to frame the highlight focal point. Straighten the curve of the table surface so that it lines up with the upper guideline and creates a more asymmetric value composition. 05. Make final touches Use thicker and brighter paint at the highlight pointTo complete the painting, add light tones, highlights and finishing touches. The light on the table surface fills out the lower 2/3rds of the composition. Thicker and brighter paint and technique variation are added at the highlight, which really draws the eye to the main focal point. Urban landscape The next demonstration is an urban landscape painting that uses the rule of thirds to play with height in the architecture. 01. Align the reference image with the grid You can use the rule of thirds in portrait orientationHere we slightly 'break' the rule of thirds by using it in a vertical or portrait orientation. The reference photo here shows that we will have to align the central structure with the right vertical guideline to give more asymmetry and counterbalance in this composition. 02. Draw and design Sketch out the painting, moving things around to fit to guidelinesBegin the painting with the drawing and design. In the drawing, move the centre object to the right so that it lines up with the right vertical guideline. Similarly, design the other elements in the bottom of the composition to line up with the lower guideline. 03. Lock in major elements Block in the major elements of the compositionNext, block in the darks and add colour in the shadows. This step helps you to lock in the major elements of the composition such as the central focal point and the dark lower thirds section. This creates an interesting tension with the upper two-thirds of light. 04. Build in half-tones and lights Add half-tones and lights to contrast with the darksNext, add half-tones and lights. This locks in the major elements of the design and composition. The tower focal point lines up nicely with the right guideline and the darks with the lower guideline. The colours in the sky also add colour and value contrast with the darks in the lower third of the picture. 05. Add final details Adding final details creates more depth and movementTo complete the painting, add details in the dark foreground along with more colour and technique variation. This also creates more depth and movement. Clean up the shapes in the central tower structure and use the upper guideline to help you place the small details and horizontal beam shapes. 06. Use sub-divisions Using sub-divisions enables you to intelligently place smaller detailsThis image shows how the rule of thirds is sub-divided in this painting. The top of the tower lines up with a guideline. The central elements line up nicely with a guideline. And many of the lower details, colours and small strokes line up with guidelines in the lower section. Figure painting This last example is an action-packed figure painting in watercolour, which uses an asymmetric composition based on the rule of thirds to emphasise the thrust of the image. 01. Line up the main action Here the rule of thirds helps create a dynamic figure paintingBegin the drawing and shadow block-in by using the upper guideline to line up the main action of the pose. This sets up a dynamic, asymmetric composition. Line up the face with the right-vertical guideline to create a secondary focal point. 02. Create an asymmetric counterbalance Use light and dark tones to create asymmetric counterbalanceNext, block in the dark and light half-tones, add as much colour as possible and begin to soften the core shadow edges. Having the dark shadows and half-tones dominate the right thirds of the composition creates an asymmetric arrangement of value. This helps to counterbalance the main focal point. 03. Add highlights Counterbalance the highlights wth vivid red along the right-verticalNext, add the highlights. Since the highlights fall on the upper guideline, it helps reinforce the composition. Add highlights on the main focal point, too. To counterbalance the image, add intense red colour along the right-vertical guideline. Now you have a simple and dynamic arrangement of values and colour. 04. Make the final touches Additional colour provides a secondary focal point and dynamic eye-flowTo complete the painting, add more colour to the focal point hand, along with variation in technique to really draw the eye to the punching hand. For counterbalance, add saturated reds to the eyes in shadow. This gives the image a secondary focal point and a dynamic eye-flow to the composition. Digital images courtesy of the Getty’s Open Content Program. This article originally appeared in the How to Paint and Draw bookazine from ImagineFX. Liked this? Read these! 100 pro tips and tutorials for painting and drawing Get to grips with the Golden Ratio 15 inspiring examples of pointillism View the full article

VoIP vendor Fuze earlier this year patched three vulnerabilities that exposed user account information and enabled unauthorized authentication. View the full article

Looking to support a creative technology with a difference? Now's your chance, because creative robotics pioneer Joto has just launched a crowdfunding campaign on Crowdcube. It's looking to raise £250,000, with 12 per cent equity on offer. Joto is building technology that "offers a new intersection between the worlds of design and technology." Or, to put it simply, it has created the awesome next stage of etch-a-sketch evolution. Thanks to a clever combination of robotics and artificial intelligence with pen and ink, Joto has developed a connected whiteboard that draws live on request. Capable of sketching everything from works of art to messages at the press of a button, Joto can turn pixels on a screen into pen and ink drawings. Watch it in action in the video below. Keen-eyed Kickstarter campaign followers might recognise Joto from a fundraiser on that site earlier in the year. Back then it sold over 1,800 units in just four weeks and raised an impressive £362,307. On top of this, Joto was named the public's favourite design at 2017's Beazley Designs of the Year exhibition at London's Design Museum, and will be made available to shoppers via an exclusive partnership with Selfridges later in 2017. With Joto, you can send designs from your phone to a friend's wall (providing the friend also has Joto)“Most of the content we love is stuck on our screens, and as a result so are we," says Jim Rhodes, founder of Joto. "We are reimagining a world where people can feel connected beyond the screen. This is an exciting first step in the exploration of creative robotics for the home. Not the type to be scared of, but the sort you’d love to put on your wall.” By supporting Joto on Crowdcube, you'll be helping it to launch its hardware across even more channels and regions, as well as accelerating the development of the software platform where users will be able to view and exchange content with peers and other content providers. If you want to support Joto and help it to reach its goal of £250,000, you've got until 30 September to send some money its way. Related articles: 6 best digital art tools of 2017 so far New free Google tool does the drawing for you 10 tools to unlock creativity View the full article

Researchers at IOActive are sounding an early alarm on the security of industrial collaboration robots, or cobots. These machines work side-by-side with people and contain vulnerabilities that could put physical safety at risk. View the full article

There are plenty of word processors out there that you can use, but they all come with their own baggage. Nisus Writer Pro is a lightweight and powerful tool for writers that provides a perfect workspace for any project. Get it on sale today for 50% off the retail price! Nisus Writer Pro is an absolutely essential tool for anyone writing on a Mac. This word processor provides everything you need to write the way you want to. It automatically saves your work, makes it available through iCloud, and maintains document versions so you can see your revisions. With RTF support, it can produce documents that can be opened on just about any machine and in any program. You can get Nisus Writer Pro on sale now for just $39 (approx £30). That's a saving of 50% off the retail price for a handy app that makes writing a breeze. Grab this deal today! View the full article

You can have the best pencils in the world, but unless you know how to draw with them, they're pretty useless. You're fairly sure you know how to hold a pencil, right? Well of course you do... but are you holding it correctly to draw? The grip we use for day-to-day writing is very inefficient and will limit you in many drawing scenarios. Quite simply, drawing from the fingers and wrist alone (which is the narrow range promoted by the standard hand writing grip) doesn't release the full potential of movement that drawing from the entire arm and shoulder affords us. 26 phenomenally realistic pencil drawingsWhen it comes to drawing, you need to retrain years of accumulated muscle memory that is dictating the way you make marks. Once you weed out these bad habits, your visual vocabulary will broaden with each drawing session. A better grasp of your pencil will literally lead to a better grasp of drawing, because once you gain greater certainty and control over any given drawing medium, the confidence to explore what can be done with it becomes more accessible. Learn to wield your drawing tool like a pro with these steps to pencil precision... 01. Learn the two basic types of grip There are two basic types of grip: Tripod and OverhandThere are several ways to hold a pencil. Most are variants of two main grip types; Tripod and Overhand. Both can be used when holding different kinds of drawing media, but you may notice a tendency to grip tubular media (pencils and ink pens) with the Tripod grip and bulkier media with the Overhand. Both have their place, but the Overhand method is generally considered a more adept approach. Before we explain why, let's looks at the Tripod grip. 02. Learn the Tripod grip The Tripod grip uses the thumb, index and middle fingerThe Tripod grip is the grip we use when writing with a pen, so it's also known as the Writing method. You grip the pencil using the thumb, index and middle finger. The barrel of the pencil should rest naturally in your hand's web space. Avoid closing the web space, as this forces the barrel to rest on the knuckle of the index finger and promotes strokes using finger gestures only. Avoid grasping at the tip of the pencil, too, as this can limit line length(s) and lead to hairy, less fluid continuous lines. When to use the Tripod grip The range of movement of the Tripod grip is limited, but it can be useful for detailing small sectionsAlthough the range of movement of the Tripod grip is limited, it can be useful for detailing small sections of a big drawing. Try to move your grip as far up the barrel as you can to encourage articulation of the elbow and drawing from the shoulder. The Tripod grip is more appropriately used when working in a small sketchbook – A4 or smaller. Try not to rest your hand on the paper, as this can hinder wrist articulation. 03. Master the Overhand grip Using the Overhand grip can feel alien at firstIf you've never used the Overhand grip, it feels alien at first, but the benefits are worth the retraining. Place your pencil down on a flat surface. Now with the thumb and all four fingers, pick up the pencil. All fingers should grip the outer side of the barrel while the thumb grips the opposing side, retaining a light grip at all times. When to use the Overhand grip The Overhand grip will increase the versatility and range of marks you can makeOverhand grip combined with a correctly sharpened pencil will increase the versatility and range of marks you can make by introducing the edge of the pencil. For example, when drawing on a vertical surface (easel) holding the pencil vertically (and with the full edge touching the paper), pulling downwards creates a single line, but moving the edge horizontally left/right will lay down a thicker line of tone. 04. Get more from the Overhand grip Move your index finger away from the outer edge of the pencil to the top of the barrelMove your index finger away from the outer edge of the pencil to the top of the barrel. This enhances your control of the pencil by acting as your pivot and pressure control. Rolling the wrist forwards means less edge is in contact with the surface, leading to a thinner, sharper line weight. Roll back the wrist and you apply more edge to the surface, broadening and also softening the line quality. 05. Try these Overhand grip exercises One way to shift line weight is to introduce minor shifts in wrist angleAnother way to shift line weight is to introduce minor shifts in wrist angle, as you draw a continuous line start to twist the wrist to increase/decrease the amount of edge contact with the surface. To build muscle memory try this exercise: Plot several Xs randomly over a surface; now begin linking these Xs with lines, some short, others continuous, fluctuating line weights as you go. Use four Xs close together (north, east, south and west) to practice drawing ellipses. 06. Make some marks Gain confidence by exploring the types of mark you can make with your chosen gripGain confidence by exploring the type of marks you can make using this grip. The foundation of every drawing can be broken down into three basic components; line, shade and texture. The more ways you have of creating these, the more varied your drawing vocabulary will become. Marks can be generated by the following factors; direction, angle, speed and pressure. Try filling a sheet of paper with experimental marks that capture these qualities. This article originally appeared in the ImagineFX bookazine How to Paint & Draw. Related articles: 100 amazing Adobe Illustrator tutorials How to draw and paint - 100 pro tips and tutorials How to improve your character drawing View the full article

Explosions are a huge part of our entertainment, from video games to action films. However, most of the explosions you see on screens aren’t real. There are a lot of things that go into simulating an explosion. You have to think about the units you’ll be using, and consider the fuel that’s supposedly igniting it. You also have to think about how high the impact will go, the colours that’ll show up and the directions it’ll travel in. All these things and many more combine to give you the perfect explosion that looks stunning on the screen. Mighty Maya tutorials to try todayIn this tutorial, I'll show you how to craft a realistic explosion using Maya’s nParticles and FumeFX. 01. Fire up FumeFX Click the icon in the top right to enlarge the imageFumeFX is easy to use with solid built-in tools. It has great interaction with V-Ray and other renderers, making it the go-to option for the industry in both production and video game design. The latest version claims that it works up to twice as fast as version 3.0, so it’s also a great solution for optimising your workflow. 02. Optimise the scene Click the icon in the top right to enlarge the imageBy having a car going towards the origin point to capture velocity, it can interact with particles at a high speed to make an explosion look realistic. If you want to do something similar, you should optimise your geometry. Make a low-res version of your geometry to use in the simulations, then later it can be replaced with a high-poly version when it comes to rendering. 03. Decide your scales Click the icon in the top right to enlarge the imageBefore you get to any of the simulations, you must have a working set-up. You should decide on the unit you’ll be using. Centimetres are good but metres are even better for real-world scale. Use a scale reference, such as a human being, to make sure all of your simulations and objects are proportional. If the scale is off then it won’t look realistic. 04. Generate Particles Click the icon in the top right to enlarge the imageFumeFX needs something to burn – some sort of initial geometry that the fire of the explosion will come from. So, generate nParticles by changing Maya’s interface to the FX module, going to the nParticles menu and selecting Create Emitter. This gives you an Omni emitter to generate a point or sphere, depending on the version of Maya. These particles will be ignited later on. 05. Ground Plane and Self Collision Click the icon in the top right to enlarge the imageNow you need to create an explosion from the particles. The first thing is to add a ground plane. Go to the Nucleus node and then Ground Plane. There, check the Use Plane option and it’ll add an infinite plane for the particles to interact with. Go to the nParticleShape node and under Collisions, make sure Self Collide is checked. You should have a stream of particles on the ground. 06. Change to Volume Emitter Click the icon in the top right to enlarge the imageGo to the Emitter node and under Basic Emitter Attributes, change the Emitter Type to Volume. Afterwards, under Volume Emitter Attributes, change the Volume Shape to Sphere from Cube. Under the same tab, set the Volume Sweep to 180. You should have a hemisphere that’s emitting particles at 180 degrees. Take the Emitter and rotate it to make sure that the flat side of it is parallel to the ground, where you can then place it. This will give you the basic ‘shape’ of the explosion as it interacts with the scene. 07. Set the Particle Rate Click the icon in the top right to enlarge the imageYou should have a puddle of particles on the ground, being generated from the Volume Emitter. Let’s make some changes to the particles. Go to the Emitter and change the Rate to something high, like 6k to 10k. Don’t worry about the resource usage on your computer, you’ll only be emitting the particles for a frame or two. Go to the nParticleShape. Set the Particle Size to something comfortable that you can view easily. This will help you to gauge how your explosion is behaving within the scene. 08. Particle production Click the icon in the top right to enlarge the imageIn the Emitter node, key in the Rate. Before the frame you want the explosion to happen, set the Rate to 0 to ensure that no particles are born before that frame. In the frame of the explosion, set to your desired Rate, for example, 6,000. Then set the following one or two frames to that same high rate. 09. Ending particle production Click the icon in the top right to enlarge the imageAfter you’ve started the explosion, you should have three keys. In the frame you want the explosion to end, set another key for 6,000 and set it to 0 in the next frame to make sure the particle production stops abruptly. You can also make the Emitter smaller or bigger to control the size of the explosion. This won’t affect the velocity of the particles, just the timeframe in which they begin, continue exploding, and abruptly stop. 10. Adjust the particles’ lifespan Click the icon in the top right to enlarge the imageGo to the nParticleShape and under Lifespan, change the Lifespan mode to Random range. Set the Lifespan value to something like 0.2 or 0.3 and the Lifespan Random to a similar value. You can use your own values according to your settings – you want the particles to be generated, then stop, and start dying, but feel free to to tweak the timing. 11. Tweak particle velocity Click the icon in the top right to enlarge the imageYou can’t make the particles slow down (move outwards slower) under the Basic Emitter Speed Attributes since the Speed attribute is greyed out, thanks to the Emitter type being set to Volume. So, to change the velocity, go to the Volume Speed Attributes tab and change Away from Center as required. Some particles should move at different speeds for added realism. 12. Create the FumeFX node Click the icon in the top right to enlarge the imageYou should have a dome of particles being generated, spreading out and dying, some moving at different rates to others. Next, you can start simulation in FumeFX. Simply go to the FumeFX shelf and click the icon on the far left that’s called Create FumeFX node. A cube should appear in the scene. This is the working area of the simulation – the area where the simulations will be calculated. 13. Optimise the FumeFX node Click the icon in the top right to enlarge the imageClick the newly formed cube. You should be in the fumeFXShape node. First, set the Width, Length and Height to fix the explosion area better. Then you can focus on the Spacing. The lower the spacing, the better and more resource-heavy the simulation will be. 14. Further optimisation Click the icon in the top right to enlarge the imageThe Boundless setting has an X, Y and Z setting. Change it to +Y to make sure the simulation goes as high as possible. In the same area, you’ll find the path where the simulation data will be saved, often in gigabytes. In the Viewport tab, you can also set whether or not to see the simulation in the viewport. 15. Particle source in FumeFX Click the icon in the top right to enlarge the imageNow you can generate the first simulation. Make sure you have the FumeFX shelf selected and then, from the Outliner, select the nParticles object. With that selected, click up in the shelf to the fourth button from the left. You will have a new object in the Outliner that ends with ‘_source’. FumeFX now knows that these particles are to be ignited during the simulation. Next page: Add turbulence and sparks, and finish up your explosion 16. Caching the particles Click the icon in the top right to enlarge the imageSelect the nParticles Object from the Outliner and go up to the nCache bar. Select Create New Cache>nObject. This will re-simulate the particles you created and store them in the computer to make them easier to use again and make sure nothing changes in the simulation over time. If you want to delete a previous Cache, you can do so via nCache>Delete Cache. 17. The first bang Click the icon in the top right to enlarge the imageSelect the fumeFXShape node again. You should see some icons: a picture frame and a play button. Click the picture frame to open the simulation display, then click the play icon to start the simulation. If your explosion looks more like burning debris than an explosion, you need to go to the particle_source object and change the Radius to give it a bit more oomph. Experiment until it looks right. 18. Create sparks Click the icon in the top right to enlarge the imageTo create sparks flying off the explosion, create another Emitter. You’ll need to go through all the steps again but this time, generate fewer particles, speed them up, and make them live longer. Create a second particle_source and connect it to the main FumeFX node by going to the relationship editor in the node and selecting the second particle_source as well. This is optional, though. 19. Burn rate Click the icon in the top right to enlarge the imageIf the explosion seems to end too quickly, go into Simulations>Fuel>Burn Rate and edit that. If you’re playing with settings, run a simulation after every single tweak. 20. Adjust Turbulence Noise Click the icon in the top right to enlarge the imageIf your explosion looks too small you can use two settings: Vorticity and Turbulence. In the FumeFX node, under Simulation>Turbulence Noise, make the Scale smaller and play with the Detail slider. This brings more detail into the explosion, making it appear bigger. You may find that you need a larger or smaller number for your scene. 21. Adjust vorticity Click the icon in the top right to enlarge the imageIn FumeFX node under Simulation>System, you’ll find the settings for Vorticity. This means the small orbiting bubbles that form due to the rising hot air. Change the Vorticity type to Vorticity II and play with the Vortices Scale to find a good look for the explosion. 22. Tweak smoke Click the icon in the top right to enlarge the imageMosts explosions won’t look right without the smoke. To tweak this, go to Simulation>Fuel and turn on Fire Creates Smoke. You’ll also find Smoke Density under that, plus a tab dedicated to Smoke. The settings in there are fairly straightforward. Smoke Buoyancy, for instance, makes the smoke rise up. while Dissipation Strength controls how quickly the smoke disappears. 23. Prepare for Render Click the icon in the top right to enlarge the imageAt this point, you probably have a nice explosion that runs perfectly but doesn’t look all that good. Some settings still need editing before rendering. In the FumeFX node, you’ll find a tab called Rendering Settings, which contains sub-tabs for Fuel, Smoke and Fire. Explore these settings to learn more. 24. Experiment with fire Click the icon in the top right to enlarge the imageThe colours of the fire generated from the explosion are driven by a gradient by default. You’ll find it in FumeFX>Rendering Settings>Fire>Fire Color Tab. From left to right, the colours show how the fumes will progress. The ideal look is hotter at the centre. Experiment to see what looks best. Also, the Intensity setting in Fire affects the alpha channel. 25. Edit smoke Click the icon in the top right to enlarge the imageMaking changes to the Rendering Settings doesn’t mean redoing the entire simulation. You’ll even see the impact of your changes in real-time in the FumeFX Preview window. To edit the gradient of the smoke, go to FumeFX>Rendering Settings>Smoke>Smoke Color Tab. Try darker colours – from 20 to 40 – as explosions usually have dark smoke. 26. Remember to simulate Click the icon in the top right to enlarge the imageRendering the explosion is fairly simple. You can use lights from your rendering engine of choice to make the explosion more realistic. If the explosion doesn’t cast shadows by default, you can find these settings in the Rendering Settings tab as well. You can create a number of amazing things using these techniques, just remember to simulate after every single tweak. Continue tweaking until you’re happy with the outcome. This article originally appeared in 3D World issue 223. Buy it here. Related articles: Build a custom Maya interface Create a meteor shower in 3ds Max 30 inspiring examples of 3D art View the full article

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You've just taken a new brief from a new client and now you're sitting at your desk waiting for inspiration to strike. Do you really expect the perfect logo design to pop up, fully formed, in your mind? If you do, you could be in for a long wait. Instead, it's up to you to seek out logo design inspiration. If you let a wide variety of ideas collide inside your brain, gradually they should coalesce into the logo you're looking for. The trick is knowing where to look for inspiration in the first place. Below are some suggestions of places you could start – but remember this can never be an exhaustive list because inspiration can come from anything, anywhere... 01. Look beyond the obvious Classic logos are a good place to start... but make sure you don't stop thereCast your net far and wide. Don't just look at the top 10 best logos ever (although that's not a bad place to start). You need to also look beyond that, at design in general and at the wider world. Whenever you see something that stands out or appeals to you, for whatever reason, file that thought. Let it inform your design process and contribute as your new logo starts to evolve. 02. Just doodle Don't overthink things – start with some free doodles (photo by Sticker Mule on Unsplash)Sometimes you can overthink these things and end up getting nowhere, so why not cut your conscious mind out of the loop and instead let the creativity flow, unguided, with a bit of random doodling? You may well end up with a page of pointless scribbles, but somewhere in the disjointed mess of lines you might spot something that fires up that essential spark of inspiration. 03. Explore design websites On sites like Behance you can filter search results to logo designs There are a number of dedicated logo design sites, including Logo Gala and Logo Moose, as well as Creative Bloq's dedicated logo news channel. But you should also widen your research to include other graphic design sites, and art and design sites in general, like Dribbble, Behance or DeviantArt. Explore further down the results pages to visit sites you haven't seen before and also narrow your search to put the spotlight on logos in the same industry or belonging to companies of similar size, aspirations and values. 04. Plunder your client's history Take a dive back into your client's logo design historyCheck out all the various logos your client has employed since the company was founded. This can be particularly interesting if they go back for many decades. You may be able to hark back to the past, if the client would like to position itself as a heritage brand, or you might be able to radically overhaul tits original logo into something fresh and modern. This has the advantage of built-in continuity even as you present a new image. 05. Explore your client's future Discuss with your client its plans for the future – what does it envisage for the next 12 months or the next five years? Are there changes of direction imminent or new products coming on stream that could have some bearing on the logo you design? You need to future-proof the logo because businesses do change over time. Take, for example, Carphone Warehouse: no-one buys carphones any more – so should it lose a highly successful brand that has taken years to build by changing its name to something more appropriate? 06. Phone a friend A fresh eye can provide you with valuable insights (photo by William Iven on Unsplash)While it makes perfect sense to get as much information as you can from the client, sometimes there's nothing quite so helpful as a fresh pair of eyes. If you have some ideas worked up, take them to a friend who has absolutely no connection to the project, and see what they think. Often someone's untainted opinion can be just what you need to fire the imagination. 07. Build some mood boards The Matboard is a great mood board tool Mood boards and brainstorms can help you to straighten out your thoughts and mix up different images and ideas of all shapes, sizes and themes. Play with keywords and synonyms and gather a multitude of inspirations from different sources onto a single mood board to see how they combine. 08. Trawl through your own design archives It's probably a fair guess that for every logo you design you probably come up with a couple of dozen sketches before you decide which one to develop further. Never throw away these early ideas, as they form a valuable resource. Just because one of your early sketches didn't work for a previous client, it doesn't mean it won't work at all. Go back through previous work that you've done but not used and you may find the seed that, with a bit of nurturing, could grow to become the logo you're looking for. 09. Blast your brain with random images Check out the Creative Bloq Pinterest boards for a blast of inspiration Scroll through Google Images and Pinterest on both related and unrelated subjects to your client's logo needs. Then add the results to your mood board. Pick a colour here, a shape there, a word, a typeface... then see how these different ideas could work together. 10. Stay receptive At the end of the day, inspiration can strike anywhere, at any time. Be receptive to the ideas that flow through your mind. Sketch something as it comes to you and then revisit it later to see how it might work within the parameters of your brief. At these early stages of the design process you need to allow your creativity full rein. Give yourself plenty of ideas to work with and then take the best elements from each and discard the rest. 11. Do something else Give your mind a break from the task at hand (photo by Glenn Carstens-Peters on Unsplash)If you've tried everything and nothing's coming up, don't try to force it. Take a break and let your brain get on with other things. Go to see a film, play some video games, cook a nice meal or just have a lovely nap. It's amazing how just getting away from the problem at hand and thinking about something else can result in a sudden flash of exactly the right kind of inspiration. There's no point just waiting for inspiration to hit. The more you search it out, the easier you'll find it. You'll develop an eye for what works and what doesn't, and how you can apply this to your own nascent designs. Read more: 10 commandments of logo design 15 fantastic logo fonts 5 things to research before designing a logo View the full article

If you scrolled through Twitter at the weekend, you might have stumbled across the quickly escalating Twitter storm centred around a poorly worded tweet from typography legend Erik Spiekermann. The situation erupted after new author on the block Laura Kalbag proudly announced that after three years of hard work she'd written a book called Accessibility for Everyone. Spiekermann took issue with the wording of the message: You could argue that Spiekermann didn't send this Tweet, he just typed the textA bitter argument ensued, playing out in the beats we've come to expect from heated Twitter exchanges: Spiekermann explained the intentional irony behind his Tweet; Kalbag accepted his apology; strangers accused the typographer of being a misogynist; and the hate levels rose. JK Rowling even weighed in to give the story the status it needed to be catapulted to mainstream attention. As is the case with these sorts of altercations, picking apart who said what, when, can be an exhausting affair. And while Spiekermann's original message is unnecessarily pedantic in its aim to highlight the valuable input of literal bookmakers, he was quick to apologise to Kalbag and to recognise the hard work of writers. Is Twitter still worth it? This isn't the first time an argument like this has boiled over on Twitter. Getting a nuanced or humorous point across can be difficult given the site's 140 character limitation: misunderstandings occur often and jokes frequently fail to stick the landing. Throw in an increasing backlash to new logo and branding projects, and the question arises: is it time for designers to leave Twitter? Is it still home to the conversations, communities and opportunities that creatives can be part of to stay connected and informed? One reason why Twitter might have become an angry echo chamber for some is because its position in the digital landscape has changed over the years. "Twitter used to be a gimmick, but it’s now become part of everyone’s life," says type and logo designer Rob Clarke. "I initially used it as a place to get in touch with other like-minded designers around the world." "It worked for me – I even eventually met up with people after only speaking to them online. It still is a great way to network and promote recently launched projects. I’m not sure it makes us better designers but it certainly keeps me up-to-date with the industry." The increasing amount of hate on Twitter is worrying for Clarke, though, who has seen the aggressive behaviour which used to be limited to blogs spill over to reach a wider audience. "I see it as similar to road rage," he explains. "Anonymous people behind their keyboards shaking their fists. Just seeing web links and animated cat GIFs is boring but I’m not sure Twitter, with it’s limited amount of characters, is the best platform for debate and discussion." "It seems we are now living in a much more turbulent world of social networking so I think those with a large following and big reputation need to think/re-read before they press send." Think before you Tweet So is Twitter still a useful way to keep up with industry news, promote work and discuss industry issues with fellow creatives? Or are pedantic rows like this all that's left ? We, er, asked Twitter – and here's what was said: Meanwhile, some people still hold on to Victorian values when it comes to designers. An overwhelming majority of people who responded to the Tweet agreed that there's still a lot of fun to be had with Twitter, as long as you keep a cool head and don't post statuses in a hurry. However, the whole situation might make Spiekermann revaluate one of the gems of wisdom from his recent Creative Bath talk, namely that designers shouldn't make excuses. "We are judged by our work, not our words," he states. Maybe in the future he'll add a caveat about Tweets. Related articles: Meet the Twitter designer who shuns all social media 25 names every graphic designer should know Why it's time for designers to stand up as creative activists View the full article

It may be the end of the summer, but there are plenty of hot new web design tools to get stuck into. One of the standout tools this month has to be Video Indexer from Microsoft, which can do some very clever things with video. There is also a handy static website builder, and a tool that will help you out when working with SVGs generated in Illustrator. Beyond that there’s the usual roundup of new resources that make our lives that bit easier. Ready? Here we go! 01. Microsoft Video Indexer Extract insights from inside your videosMicrosoft's Video Indexer uses artificial intelligence to search for spoken words, faces and other characteristics within videos. It can detect when a scene changes and when text appears in a video, and can produce an audio transcript. Somehow, it can even look for particular emotions. You can use it to extract useful metadata that makes it easier for people to find your videos. 02. Supernova Supernova converts mobile designs into fully-fledged native appsSupernova turns Sketch designs into working native iOS and Android apps in a few minutes, enabling designers to create functioning apps without any coding. It converts design layers into native components and deals with responsive layouts for you. It’s currently still in beta, and free to try. 03. Parallax SVG Animation Tools A great way to work with SVGs in IllustratorHand-editing SVG code can be a pain, so someone built this post-processor for SVGs produced by Illustrator. It uses layer names to create attributes, classes and IDs so they're much easier to select in JavaScript or CSS. 04. Fontface Ninja This free browser extension lets you dig into different sites' font infoFontface Ninja is a browser extension that lets you play around with and buy fonts on any website. Hover on a font on any site to see its name, line height, size and other specifications – you can even try it out by typing in an overlaid box to see how it will look for the text you have in mind. If you like it, the download or purchase link is provided so you can click straight through. 05. Publii Sites created with Publii are based on static HTML files, making them very safeThis is interesting: Publii is a desktop app that makes it easy to build stylish static websites. It’s geared up for building blogs in particular, and uses Google AMP technology for speed, and also handles layout on different devices for you. Running a static site is a great choice if you’re worried about security, as it makes your website much less vulnerable to intrusion. 06. JPNG.svg Keep your images light with this helpful toolCombining the transparency of a PNG with the compression of a JPG, this tool uses SVG to make PNG files smaller. Plus, it works in all modern browsers. 07. Uploadcare 3.0 Uploadcare works on any device and supports files up to 5TB in sizeUploadcare is a fast file uploader that deals with storage, processing and delivery. It will optimise your files and deliver them via its super-fast CDN. Version 3.0 offers some major improvements, including face recognition, colour extraction and image enhancement features. 08. Stockio These stock assets are free to useStockio is a great stock resource that offers thousands of photos, videos, vectors, icons and fonts that are free for personal and commercial use. 09. Vecteezy Editor Customise Vecteezy content directly in your browserVecteezy offers free and premium vector art and now it has an editor that can be used to make changes to Vecteezy artwork or to create your own vectors from scratch. It’s quite a handy way to edit vectors in the browser, and it works in Chrome, Chromium and Opera. 10. Sketch for Designers Supercharge your Sketch designsBilling itself as 'A growing collection of the best Sketch resources', this site curates some of the most useful plugins and apps for Sketch so you can get the best out of the software. Read more: UXPin releases free Material Design UI library 8 great business cards for UX designers Free Flash alternative is here View the full article

The year 2017 is my 10th as an illustrator, so here I've compiled 50 pearls of wisdom to help fellow illustrators. For a while I've been thinking about what I've learned on that journey, and how I can communicate it. I'm not a writer, so like with many other things I needed to find a way of working first. How to be an award-winning illustratorFor more than half a year I jotted down my thoughts as one-liners while working on illustration jobs. I collected a list, covering a range of facts, simple observations, bold statements and hyperbole. In the following 50 tips, I offer seven steps of in-depth advice first, followed by 43 quickfire thoughts, tips and tricks on the next page. As with all in life, take these – my subjective views on life as an illustrator – with a grain of salt. May they be of help on your own journey. 01. Forget style Avoid being compartmentalised by staying fluidIn the illustration world, especially among young illustrators, people seem obsessed with talking about style – how to find a style, whether they should have more than one style, and so on. It has been said countless times, but I'll say it again: Just work and your 'style' will emerge (see how I can't help but use the word with inverted commas). Steadily working and observing your own drawings will help you to discover things in them that could be the seed for a whole body of work. If you are obsessed by somebody else's work, try copying it as an exercise (do not present it as your own, though). In that process, you will notice what suits you and what does not. I found doing such an exercise so tedious that it sent me running back to my own stuff very quickly. When working on an actual job, style is rarely a topic of conversation. I very seldom receive older images of mine as a reference for what is expected of me. My 'style' (I cringed a bit when writing that) has broadened nicely over recent years. Clients often even give me complete trust and thus freedom to choose what I think will work best. 02. Use paper Paper can be essential in the early stages of a projectDigital methods of creation have undoubtedly become indispensable for communication and allow us to be immensely effective when finalising our work. But let's be honest: we cannot think on the screen yet. I've noticed that with a piece of paper in front of me, my sense of composition comes more naturally than it does on a screen. My hands and eyes are interacting with the area of the paper and measuring distances constantly. When sketching on the computer, I find that placing everything correctly requires a lot more tweaking. It is harder to keep a sense of the bigger picture when working digitally. Similarly, I also tried writing with a fountain pen and noticed how words and sentences started to flow out, like ink, naturally onto the paper. Thoughts formed easier than when I was typing on a keyboard. Paper is one of the oldest technologies we have. Cultural creation has been based on it for millennia. Let's not abandon it just yet, especially in the early stages of a project. 03. Remember that digital tools aren't magical Ask yourself if you need that new kit or just want itNew software versions, texture packs, Photoshop brushes, Wacom tablets, iPads and Apple pencils are the tools of our trade. Even when working in analogue, it is almost impossible to steer clear of digital tools entirely. And while a tool can be motivating for a while, it is too easy to get obsessed by a constant need for the new. I think the problem is the way that we approach these tools as if they have magical properties. We imagine ourselves working with the tool in scenarios that are not realistic, and often do not reflect our actual way of working. For example, take the idea that if I only had that new iPad Pro, I would go out and make on-location drawings. But if I have never done an on-location drawing before in my life, the iPad will probably not get me to do it. Apply some sobriety to your kit wishlist – are the items on it actual needs or just wants? Ask yourself which of the tools that you already own have really had an impact on your work, to help you decide. Digital tools usually develop incrementally. So it's not often that a revolutionary product or software feature comes along that improves our way of working dramatically. Therefore, don't expect wonders from a new digital tool any more than you would expect any huge transformations from a new pencil. 04. Be realistic about time Pulling all-nighters really isn't very productiveIt is easy to make unreasonable assumptions about what you can achieve in one day. For example, having the idea that: "If only I hunker down properly today, I could finish the whole project." The end of the day will inevitably roll around and crush your plans. Nobody can really work for a full eight hours every day intellectually. It is impossible to stay focused and to concentrate on pushing a project forward in a meaningful way for such a long time. Many novelists do not write for more than four hours a day. A recent move to a six-hour working day in some Swedish companies even showed an increase in productivity. The way you think you are working is probably not congruent with the way you are actually working (see tip 22). We are constantly frustrated by our progress, while at the same time, we are – with a little discipline – remarkably consistent in our output. Why not accept reality and use it to our advantage? Plan more realistically to be less frustrated. Time can also be on your side. Looking at your work again tomorrow, instead of rushing it out today, will give you a more objective look and maybe even provide the chance to make the final tweak to push a drawing from good to great. 05. Don't steal other people's ideas You might copy an idea by accident, but don't do it on purposeI don't think copying ideas has a place in illustration. I pride myself on coming up with the right image, and thus the right idea for a given text. If nothing else, that is what separates me from stock art. And in times of a large, aware online public, it also seems foolish to steal ideas and not expect to be found out. That being said, I'm convinced that you can copy an idea entirely by accident or subconsciously. For each final illustration I make, I provide two or three (hopefully) original ideas. That amounts to me generating several hundred ideas per year. The numbers are high. As illustrators, our personal and professional backgrounds are often similar, so the symbols and references we have in our minds may also be similar. I think that having the same ideas is inevitable at times, however unlikely a mere coincidence seems at first glance. So please reflect on your outrage the next time it happens. 06. Know that big clients come with big hierarchies The bigger the client, the more pressure you'll have to faceWhen graphic designer Kurt Weidemann redesigned the logo of German railway Deutsche Bahn in the early '90s, there was uproar in the press because he received a record fee of 200,000DM (about £152,000 in today's money) for his design services. For this fee, however, Weidemann had spent endless hours explaining his work to mid-level executives, and sat in many mind-numbing corporate meetings. He also got a lot of flak from the media when the design was finally revealed. On the surface, making an editorial drawing and one to be used in an advertising campaign is not that different. The higher fee for ad jobs is justified by the client buying a more comprehensive license. Where is the problem? Here it is: When working on ad jobs, you are usually working opposite a team of people in various positions, who are in turn responsible to a team representing the client. The result is that you are facing a hierarchy – or even two hierarchies – who all have a say on the outcome of what you are drawing. The result is a strictly controlled environment, and that means many revisions before everybody is happy. Like Weidemann, you are faced with a corporate machine. Unlike Weidemann, you might not have enough standing (or stamina) to protect the integrity of your work until the finish line. That is what you are compensated for. 07. Know thyself If you want to succeed, learn to recognise your strengths and weaknessesWhile you're studying illustration – either formally, or by yourself – you are exposed to great work by others. You feel jealous of your peers and in awe of the masters. You're inspired, you're confused, you try to create, and then you're frustrated by what you produce and how badly it compares. And in spite of it all, you're still driven to make something, so you try again. Although you are dealing a lot with your emotions in that whole turbulent process, you might not have learned to observe yourself and what you are doing yet. To be successful, you need to find out a lot of things about yourself first: What are your strengths? What are your weaknesses? This is easier said than done, but start with simple things first. For example, what are your most productive working hours? Whether you work best at 6am or midnight, don't miss out on these hours, and try to plan the rest of your day around them. Once your needs are taken care of, you will become less anxious. You are the person you have to work with for the rest of your life, so get to know yourself. Be disciplined, of course, but also be accepting and tolerant. Next page: Quickfire tips and tricks for illustrators You can see more of Stolle's work on his website, danielstolle.com As I've been working over the last few months I've jotted down the following one-liners. They're things I've noticed about the craft of illustration as well as the business side of working in illustration, advice I've given to new illustrators and tips for staying productive. 08. Drawing is thinking. 09. Thinking hurts – do it anyway. 10. Hands can be as expressive as a face. 11. Craft has not gone. Being taught the craft is just harder. 12. Deadlines are sacred, but pay dates are not. 13. Don't show your bad ideas to the client – they might choose them. 14. The headline might change at any moment – do not base your idea on it. 15. Try to find inspiration and aspiration from outside the field of illustration. 16. There are sadly no shortcuts to a good drawing. Making one usually involves work. 17. In print, everything looks a bit darker than on screen. 18. Learn to be okay with being with yourself. 19. Being organised can get in the way of being efficient. Sketch as big as possible20. Read the email again. Carefully. 21. Sketch as big as possible, especially when doing portraits. Small sketches amplify mistakes. 22. To achieve minimalism, it is sometimes easiest to strip things away from something that isn't minimalist at first. 23. The client publishes first. 24. A picture without a human element is hard to relate to. 25. For likeness, head shape is just as important as actual facial features. 26. If an image looks off, flipping it may reveal any flaws. 27. Don't always draw everything in the centre of the image. 28. Time is often lost while transitioning between tasks. Make a conscious effort to switch faster, or better: avoid too many switches. 29. Imagine every drawing is going to be printed big. Good drawing is not lost when scaled down. Creators are greater than critics30. If you have to explain the idea, it's not a good idea (unless you are working with a stupid person). 31. No one is easier to draw than a bearded man. 32. Sometimes pieces that would look good in a design portfolio will not look good on a magazine page, and vice versa. 33. Tracing is like a crutch. Sometimes you need a crutch, but who wants to walk with one all the time? 34. 2B or not to be. 35. Every line you draw in a person's face makes them older. 36. Be prepared for a format change. 37. Your feeling about what constitutes a good idea will differ from your client's. 38. Focus and concentration can be trained. 39. Creator > critic. You're first idea might be the best40. The first idea might be the best, but don't rely on it. 41. Progress > perfection. 42. Don't let your inbox make any *bleeping* sounds. 43. Colour Practice > Colour Theory. 44. The older you get, the better you understand time. 45. On some days, it just doesn't work. 46. The wrists and back are easy to wreck. 47. On some people, the upper part of the legs is longer. On others, the lower part is longer. 48. All sketches look better after scanning. 49. You can learn something from anyone's drawing. 50. Being able to edit yourself is as elusive as it is valuable. This article originally appeared in Computer Arts issue 267. Buy it here! Related articles: Why illustrators should care about copyright Pro tips for illustrators How to break into children's illustration View the full article

WordPress powers tons of the web, from simple sites to some of the most elaborate. If you’re looking to become a web designer, mastering this popular platform is a must. Learn the skills you need with PressShack University WordPress Training. You can get lifetime access to these training tools on sale now for 96% off the full retail price! WordPress is a great tool for getting a website up and running quickly, but it can do so much more than it appears at first glance. PressShack University Wordpress Training walks you through 39 hours of educational courses that will arm you with expert knowledge on how to make the most of the very malleable platform. Pick up tricks of the trade and must-have information while building your design skills – and there's always new information being added. You can get lifetime access to PressShack University WordPress Training on sale for just $39 (approx £30). That's a huge saving of 96% off the retail price for this invaluable training. Don't miss out, grab it today! View the full article

To paint a figure that looks believably wet requires you to take a number of factors into account – a key one being the type of fabric they are wearing. Start with an unclothed figure to drape the wet clothes upon. Follow these tips to find out how to draw a character who's just been caught in a downpour. How to draw and paint - 100 pro tips and tutorials01. Start with an unclothed figure Sketch the figure first (Click the arrows icon in the top right to enlarge the image)Start out with an unclothed figure – this makes it easier to work out how the material will cling to the form. For this example, we're using a female figure with longish hair and flowing skirt. It’s important to understand the character's figure, because wet clothing will cling to it more closely than dry. I sketch out a pose of what will be a young woman holding up her skirts slightly. This is done with Pencil and Paintbrush tools in SketchBook Pro. 02. Consider wet clothing Drape the wet clothing on, thinking about how the fabric would behave (Click the arrows icon in the top right to enlarge the image)Sketch out clothes on a new layer. Remember that the extra weight of the water will cause the fabric to hang straighter than if it was dry – wet hair will behave in much the same way. It's important to consider what fabrics the figure is wearing – think how wet leather looks and behaves differently to wet silk or cotton. While treated leather can have a degree of stiffness and water resistance, silk quickly becomes waterlogged and clings to the forms beneath it. 03. Explore colour Rain affects the colours of clothes, too (Click the arrows icon in the top right to enlarge the image)On another separate layer, block in solid colours – here we picked a green for the skirt and white for the blouse. Shading helps with the volumes. Paint with browns and purples on several layers set to Multiply. Being wet will affect the colour of clothes and hair, so limit the spread of the highlights, where you want areas to look wettest. The figure's white blouse appears semi-transparent where it sticks to her skin. 04. Pay attention to details Add details for realism (Click the arrows icon in the top right to enlarge the image)You can emphasise the impression of being drenched by remembering that body posture plays a part. Wet clothes are less comfortable and heavier, so consider how this will influence the character's pose. It will also affect how they move, and even how they behave – a wet person might choose a different route through a house to avoid spoiling an expensive rug, for example. Your figure work is likely to have more character if you give them a back story. This article originally appeared in ImagineFX issue 146. Buy it here. Read more: Improve your character drawing How to draw a ghost Get better at figure drawing View the full article

You're reading Crazy Sliders – 10 Ways of Taking Sliders to the Next Level, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! Every other website seems to include a full-screen slider. It is a tested way to quickly and unobtrusively interest users with important stuff such as featured products or portfolio pieces. Its realization is pretty banal. In a nutshell, it is just a container with two controls where the content is circling in the loop. Nothing […] View the full article

Like most artists, I find inspiration in all manner of places. These are my ultimate design classics, that inspire me (and why)... 01. The Eames Lounge chair The Eames Lounge chair and ottoman were first released in 1956 after years of development by designers Charles and Ray EamesI first sat in this chair when I was about 10 years old. It was the first moment when I realised that everyday objects were actually designed, and that changed my life in many ways and started a life-long love affair with mid-century furniture design. There is something incredibly beautiful about design that is both aesthetically pleasing as well as practical and comfortable. There is nothing in the Eames Lounge chair that is superfluous. Everything is thoughtful and beautifully crafted. 02. Omafiets (Dutch Grandmother bike) The Omafiets, originally designed in 1892, is one of the most popular choices of bike in the NetherlandsGrowing up in Amsterdam, these bikes were so common that I used to take the design of them for granted. It wasn't until I moved to NYC and started riding around the city that I realized just how special this bike is. From the compliments I get on an almost daily basis, to the simple design features that make city bike riding comfortable and practical, I love it. The protective covers on the rear tire enable you to cycle comfortably in the rain, and the lowered frame makes getting on and off the bike in a skirt or long jacket a breeze. Plus the elevated steering wheel enables you to weave in and out of traffic without having to physically turn your head. This bike has been completely optimized for city commuting and is the single most important design piece of my daily routine. 03. NYC Subway poster from Massimo Vignelli Massimo Vignelli designed the New York City subway map for the Metropolitan Transit Authority in 1972When I was in grad school, I called Massimo Vignelli's design studio (he was in the phone book) to send me a copy of this iconic piece of design. When I didn't get a response, I spent days hunting around eBay to get an original copy of this 1972 subway map and it now hangs in my home studio. The beauty lies in its simplicity – the lines run at 45 and 90 degree angles only, which turns the organically messy subway system into a stylised utopian plan of New York. 04. Old Northwest Airlines logo Northwest Airlines used the above logo from 1989-2003, created by design agency Landor AssociatesI'm not a logo-head by any means but when a friend of mine asked me if I could see why the (old) Northwest logo was amazing, I took a close look at it. I realised that the typography not only stylised the 'N' and the 'W', but the angle of the logotype also isolated a little arrow that actually points to the North-West. It's one of those subliminal things you don't see right away (like the arrow in the FedEx logo) but once I discovered it, I was truly blown away. It made me want to be there in the room when they finally 'got it right'. 05. Marcel Breuer's Wassily Chair The Wassily chair, also known as the Model B3 chair, was designed by Marcel Breuer in 1925-1926I spent months hunting down this chair on Craigslist but, since I was in grad school and didn't have much money, I wasn't able to pay the hefty price tag. After typing in keyword after keyword and getting insanely high price tags, I decided to search for 'leather and metal chair' instead. Low and behold a post came up from a woman in New Jersey who was selling two original Wassily chairs for $200 total. I convinced my friend to drive out to the middle of New Jersey and as we were driving into the MacMansion suburb I realised the seller probably had no idea that these chairs were iconic design pieces. When I walked in, she said, "my dad had these weird uncomfortable chairs in his office in Manhattan. I am sorry they are so ugly and uncomfortable, so if you would like to take them with you now, I will give them to you for $100." My jaw almost dropped to the floor when she showed them to me among her drab interior of Crate and Barrel furniture. I took them home right away and never did tell her the real story behind the chairs. Some people will never be wowed by them and that's okay. Beautiful design isn't always practical or for the masses. Don't miss Anton & Irene at Generate London for their popular workshop and talk about achieving real work/life balance in the studio Irene Pereyra is half of New York-based design studio Anton & Irene, who will be hosting a workshop at Generate London on 20 September that will teach you how to quickly come up with a solution to a client brief, and create a convincing presentation that sells your idea, within just a couple of hours. Anton & Irene will also talk about their experience on how to establish a good work/life balance while producing creative work for both. Reserve your spot today! If you buy a combined workshop and conference pass, you will save £95. This article was first published on 28 January 2015. Related articles: Léonie Watson on making accessibility integral to web design process The rules of responsive web typography Aaron Gustafson: The future of adaptive user interfaces is inclusive View the full article

Whether your specialism is graphic design, illustration or 3D art, chances are you'll have made a choice between working as a freelancer or getting a full-time job in a studio. It's a major decision – and there are big pros and cons to each. In this article, leading creative professions on both sides of the fence share their experiences to help you decide what's right for you, looking at the pros and cons of freelancing and working in a studio. 20 tips for design interview success01. Freelance pro: Choose your hours With freelancing comes the ability to choose your own clients and enjoy the finer things in life. "What I love most about my choice as a freelancer is being able to see my two-year-old son growing up every day," says Melbourne-based concept artist and illustrator Darren Yeow. "As well as being able to offer him front-row seats to an alternative look at how career and life can intertwine. And of course, getting paid to do that." 02. Freelance con: The non-creative stuff Yeow failed at being freelance. Twice. Moving back into studio roles, it's only over the past five years that he's successfully crafted a path for himself working from home – and he wouldn't have it any other way. However, he's careful to emphasise what a big decision this was. "Freelancing is a serious undertaking that requires the wearing of numerous hats to pull off successfully," he explains. "As a freelancer, you're running a small business, which requires many non-art related skills that studio artists don't need to contend with." Darren Yeow managed to paint this in his free time as well as working freelanceBut exactly what skills is he referring to? "Things like client billing and chasing payment; keeping the books up-to-date; dealing with taxes; health cover; putting funds away for retirement; insurance; paying overheads and investing in skills training are just some of the things that immediately come to mind," he says. "These are on top of actually getting client work done." 03. Freelance pro: Greater variety (if you want it) Jana Schirmer enjoys the diversity that comes with being able to pick your own projects Berlin-based freelance artist and illustrator Jana Schirmer also champions the life of a freelancer. "A nice side-effect is that you get to work on a lot of different projects, instead of just working for one for years in a studio," she says. "I love doing concept art and I love illustration, and I'm able to do both as a freelancer." 04. Freelance con: Nightmare clients When it comes to clients, however, taking the freelance route comes with its downfalls. Simply receiving payment can be a struggle sometimes. But, as Schirmer explains, it all comes down to the correct contracts. "Don't start working before you see a contract," she continues. "Once I started working for a small client when I had just started freelancing. After finishing the work, I never heard back from him. It wasn't very smart on my end." Difficult clients pop up no matter which area you work inBut as Yeow says, you can take certain steps to ensure potential clients don't turn into a total horror show. "Nightmare clients tend to be new clients, so I begin dealing with them before they turn out to be nightmare clients," he says. "First, the client understands that I intend to enter into a mutually beneficial relationship – not a dictatorship. I'm there to bring flesh to their vision, with their guidance. But I'm not a doormat, and in order to bring about the best outcome, we need to respect each other's skill sets and worth. "If you communicate this part in the right way, this won't offend good clients. In fact, most will appreciate this as a mark of one professional to another – but it will bring out red flags in egotistical prima-donna types." 05. Studio con: Nightmare clients (again) However, working within a studio doesn't necessarily mean you can escape difficult clients. "If it's clearly going nowhere I'll just step away," says Blazing Griffin lead artist Paul Scott Canavan. "Don't make a fuss. Sometimes these people are just going through some trouble and I always try not to burn bridges." Paul Scott Canavan works at indie game studio Blazing Griffin Having art-directed Distant Star: Revenant Fleet, The Thirty-Nine Steps, Dino Tribes and APB: Retribution, Canavan has worked on a range of projects and puts a safeguard in place. "I always ask for 50 per cent of the commission up front, and only deliver the final product on receipt of the second 50 per cent." 06. Studio pro: Creative collaboration While you can't escape difficult clients either way, working in a studio does allow you to flourish in creative collaboration. Gaining constructive criticism and building friendships in a studio environment can help you to produce the best work possible. "Freelance life is great in many ways – oh, how I miss 11am starts! – but there's nothing like working with a group of friends to inspire you and make every day exciting," continues Canavan. Weta concept artist Christian Pearce couldn’t agree more. "I love the people and all the interesting stuff that happens here," he says. "Weta is different to most design studios in that there's a full workshop here – engineering, model-making, 3D, moulding and casting, sculpting, paint shop – every time you get out of your chair you bump into people doing something you don't know how to do and they're really freaking good at it." Weta’s Christian Pearce, who painted this piece, is an advocate of working in a studioWhether you want to get into the industry through internships and applications, or prefer to go it alone, there's an overlapping aspect to both endeavours, as Canavan concludes: "I turned down a couple of fairly large jobs because I didn't feel ready and was afraid of meeting new people," he says. "But the longer you spend in this industry, the more you'll learn that everyone is just like you really. Take the plunge – it's always worth doing!" This article originally appeared in ImagineFX issue 126. Like this? Read these! How to transform a design internship into a job 20 top tools for freelancers 25 tips for staying sane as a freelancer View the full article

We’ve all been there. You know exactly what kind of image you need to make your design work perfectly. But you’re not sure how to go about finding it. At iStock by Getty Images, there are millions of exclusive, royalty-free stock files, and some sophisticated search tools to locate what you’re looking for quickly. But even here, you may sometimes come up against a brick wall. If that’s happening to you, here are three quick tips to help you track down your perfect image, faster. 01. Use negative search terms One of the benefits of using a stock library like iStock is that you have literally millions of images to choose from. But ironically, that amount of choice can sometimes make it tricky to narrow your search down. So to get a more finely honed result, try adding negative search terms. In other words, tell iStock what you DON’T want, as well as what you do want. For example, if you’re searching for images of pets with their owners, the search term “pets and owners” will bring up results like these below: An image search for ‘Pets and owners’ But if you’re not interested in owners with dogs, try searching for ‘pets and owners NOT dogs’ instead: The same search with dogs excluded Other examples of negative keyword searches might include, for example: ‘car NOT road’, ‘Olympic athlete NOT swimming’, or ‘cityscape NOT London’. As well as using negative search terms, you can also exclude results you don’t want using the various options in the left-hand side menu. For example, you can tell the search engine to exclude images featuring people (by changing ‘Number of people’ to zero) or images you’ve seen already (by changing ‘Upload date’ to ‘Last 24 hours’). 02. Use conceptual search terms Don’t just search for ‘business meeting’; use conceptual search terms to find images with the right vibe Searching for the literal thing or things you want a picture to include – say ‘business meeting’ – will get you part of the way to finding your perfect image. But something that will help you get there faster is to add conceptual terms. Conceptual terms narrow down your search to images that convey a certain feeling, emotion or concept. So, for example, rather than just search for ‘business meeting’, ask yourself what values you want that image to convey, and for people to associate with your client’s brand. Once you’ve decided that, add keywords that relate to those qualities: for example, ‘teamwork’, ‘collaboration’, ‘success’, ‘ambition’, ‘achievement’, ‘stress’, ‘trust’ or ‘hardworking’. These additional keywords will help you find images that convey the qualities you’re looking for much more quickly. Not sure what kind of conceptual terms to use? Then find an image you like and see which keywords the photographer has used to describe it. For example, this image of a traveller looking at a landscape has associated keywords that include ‘happiness’, ‘solitude’, ‘contemplation’, ‘sadness’, ‘loneliness’, ‘freedom’ and ‘nostalgia’. 03. Search with images, not words iStock now lets you search by image as well as by keywordsThe saying goes that ‘a picture speaks a thousand words’. And sometimes it’s much easier to say “I want an image like THIS one”, than to put into words exactly what it is about the image that you like. Which means it’s great news that you can now search iStock by Getty Images by image as well as words. Just click on the camera icon to the right of the search bar, and upload your photo. Then the search engine will deliver results that either exactly match or closely resemble the picture you’ve uploaded. Note that your JPG or PNG image must not be larger than 4000px in width and height, and must be smaller than 5MB in file size. Like an image in the library? Click on ‘View similar images’ to see more like it Also, if you see an image within the iStock library that you like, but it’s not quite right, hover your mouse over the bottom right-hand corner, and an option to ‘View similar images’ will pop up. It’s another great way to find images quickly and intuitively, without even having to type anything into the search bar. Special discount for Creative Bloq readers Finding the right image can make or break the success of your design. So we hope you’ll make use of our three tips here to really speed up your discovery of high-quality, low-cost stock imagery. To give you an added incentive, we’ve teamed up with iStock by Getty Images to offer Creative Bloq readers 10% off all iStock credits. Just use code ZNKPC46N today at istock.com to take advantage of this incredible offer! View the full article

Voter registration data belonging to the entirety of Chicago’s electoral roll—1.8 million records—was found a week ago in an Amazon Web Services bucket. View the full article

As any design company founder will tell you, running a successful studio takes a lot more than design prowess. You need plenty of guts, determination, and the kind of business savvy that may not always come naturally to creative people. Buy Computer Arts issue 270 now! With all of this in mind, the cover story in Computer Arts issue 270 sets out six of the biggest hurdles that are likely to stand in the way of your creative business’ growth, and gives you 36 gems of essential advice to help you leave them in your wake – so you don’t just survive, but thrive. CA 270's cover story reveals how to build a thriving studio, and features 36 pro tipsFor a hit of design inspiration, regular CA contributor Adrian Shaughnessy explores the eclectic world of book cover design, a field in which even the most iconic works of fiction regularly get a creative facelift – an interesting contrast, he points out, with correspondingly seminal works in music or even household-name FMCG brands. Adrian Shaughnessy discusses the art and craft of book cover designMany such brands feature in the shortlist for CA's fourth-annual Brand Impact Awards, and the hotly-anticipated winners will be announced next issue. To whet your appetite, the team took six of the stellar BIA judging panel aside during their deliberations to discuss three hot topics in branding: the need for brands to demonstrate wit and empathy, the importance of taking creative risks, and the most exciting aesthetic and technological trends on the horizon, and how to get the most from them. Six Brand Impact Awards judges share their branding insights in an exclusive video interviewIssue 270 of Computer Arts also kicks off a brand-new series dedicated to the practical skills that junior designers need on a daily basis. First up is colour correction, with the dark art of image manipulation coming in part two. Part one of CA's new junior designer manual series covers colour correctionAlso in Computer Arts issue 270 Inspiring work from around the world in Showcase, including DixonBaxi's rebrand of Storey World Illustration Award winner Aart-Jan Venema shares his tips for illustrating for an event Hansje van Halem discusses her knack for blending type with abstract patternsBuy Issue 270 of Computer Arts today, or subscribe to Computer Arts to save up to 47%. View the full article