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Medieval churches, green pastures and slate-topped farm houses are synonymous with the villages that litter the British countryside. Here I'll use my own 'five C’s of painting' – Concept, Composition, Contrast, Colour, Completion – as logical steps to paint the beautiful medieval St Laurence’s Church in Weston Underwood, the next village from where I live in the Cotswolds. The photograph of the church was taken on a sunny but cool day in April from the edge of a field at the back of the church. I put a 3x3 grid on the photograph to help draw my composition. To do this, draw a 14 x 10-inch border on your watercolour paper and this will be exactly proportional to the dimensions of the photograph. Once done, draw a 3x3 grid lightly with a B pencil on the watercolour paper, which will proportionately match the grid on the photograph and enable you to transfer the image accurately. Get off to a good start with tools and materials assembled For this painting, I used: Winsor & Newton Professional Watercolours in Raw Sienna, Burnt Sienna, Burnt Umber, Cobalt Blue, Ultramarine Blue, Brown Madder, light red. Bockingford Not 140lb (300gsm) 11x15-inch. Isabey Squirrel Mop Brush (size 10) for the broad washes and Escoda Perla size 8 and size 12 to use on the architectural details. For a pen, try a sharpened matchstick (such as Bryant & Mays Extra Long Matches) dipped in a bottle of waterproof Indian Ink. The matchstick makes it easy to achieve a line with character. B pencil. Putty rubber. 01. Paint from the photo Develop the concept by observing a photograph of the scene The first C is Concept (what you want to say in the painting). The concept here is an English country church on the edge of a village. I decide to refine the concept to create a warm autumn painting in contrast to the cool spring feel of the photograph; the concept now is an English country church in autumn. I also decide to have a strong sun from the left to light up the left facade of the church and create strong shadows for tonal contrast at the centre of interest. 02. Draw a pencil outline Keep it simple with the use of gridlines and dots Composition is the next C and refers to the arrangement of the painting. A pencil outline of the main elements is drawn by referring to the 3x3 grid on the photograph and putting dots on the watercolour paper grid where the main elements strike the grid lines. Then it’s a case of joining the dots – no detail, just the outline of the objects. For clarity, I’ve drawn the gridlines, dots and outline in strong 4B pencil, but you should draw these lines with a B pencil as lightly as you can. 03. Start the ink drawing Using waterproof ink is essential to prevent lines loosing shape Line and wash is particularly useful for details on the buildings and drawing the trees. To produce a line with character, I’m using a sharpened matchstick dipped into waterproof black Indian ink. It is particularly good fun flicking in the trunks and branches of the bare autumn trees. As the ink drawing is completed first, it is critical that the ink is waterproof and doesn’t run when the watercolour washes are applied. As I’m left-handed, I start drawing on the right-hand side of the paper to avoid smudging the ink; if you are right-handed start on the left. 04. Complete the ink drawing Change and replace elements to achieve the right effect You will note I have made some adjustments from the photograph: I left out the rather ugly bush at the centre left of the photograph, which I felt competed with the church. I’ve also indicated some plough furrows in the foreground to create the autumn feeling but reversed the direction of the furrows to give directional perspective lines leading the eye to the centre of interest – the church. I also added a distant hill to improve the composition and add depth. 05. Hatch in the shadows Identify areas of light and darkness at the drawing stage The next C to explore is Contrast (tone values). This refers to the darkness or lightness of objects in the painting; I create the tonal plan for the painting at the ink drawing stage by hatching in the shadows using vertical lines. The sun is coming from the left so there will be shadows on the right-hand side of the tower,the buttress and the gable end of the church, as well as an eaves shadow caused by overhanging roof. If you want to erase the grid lines, now is the time. 06. Paint the sky Bringing warmth to the picture beginning with the sky Colour is the next C to consider, specifically whether it is warm or cool. I’ve decided on a predominantly warm painting so the sky will be warm light grey clouds with blue patches. I mix a warm light grey from Cobalt Blue and light red and another pan of strong Cobalt Blue. Using my mop brush, I apply clean water where I want the clouds and leave the paper dry for the blue patches. To emphasise the centre of interest, I put blue sky behind the church tower, leaving the domed cupola the white of the paper. Then I quickly paint the light grey wash into the damp paper, creating soft-edged clouds and drop in some more blue patches in a single wet-into-wet wash. 07. Begin the foreground The grass in the photo gives way to a freshly ploughed field One of my concept decisions was to change the season to autumn and create a freshly ploughed field in the foreground in rich browns and reds to give warmth to the painting. The plough furrows were drawn in ink so at this point, a strong wash of Burnt Umber and Burnt Sienna is sloshed on with my mop brush. The shadows created by the furrows are dropped in while the wash is still damp. 08. Start a first wash on the buildings Focusing on the Cotswold stone for church and headstones I add a touch of Raw Sienna to my grey cloud wash to emulate the dull yellow grey of the Cotswold stone. Using my number 12 round brush, I paint the walls and tower of the church in addition to the gravestones. 09. Finalise the wash Making sure the contrasting elements show through The church, cottage roof and the domed roof of the cupola are all painted with a strong mix of Ultramarine Blue and light red mixed on the paper to vary the wash. I then use light grey again for the lead roof on the facing extension and paint the cottage walls light red. The large bush in front of the church uses Ultramarine Blue and Raw Sienna, and the other bush is Burnt Sienna. Both are put in while the church wall wash is slightly damp to give a soft-edge effect. The long dead grass at the edge of the field is watery Burnt Umber. 10. Add a shadow wash Getting the colour of the shadows just right The hatched shadows are reinforced with a strong shadow wash, which will turn on the sunshine. Shadows aren’t grey; they are a darker tone of the colour of the object plus some purple from the sky and reflected light from adjacent elements. For shadows I use a transparent mix of Ultramarine Blue and Brown Madder; the transparency of the shadow wash allows the colour to show through, which I reinforce with some strong colour dropped into the wet shadow mix, for example, Raw Sienna into the tower shadow. 11. Make the final touches Less is more; know when to stop adding touches Completion is the final C. At this stage, I’m nearing the finish of the painting and there is a danger of adding too much. The trees need some indication of shape, so using quick downward strokes I dry brush in some light Burnt Umber. Then I emphasise the furrows in the foreground with some corrugated cloud shadows using the same shadow mix as before and dropping in some neat Burnt Sienna as the local colour. 12. Enjoy your work Sit back and admire the countryside At this point I refer back to my concept; English country church in autumn. Have I achieved my concept? I think I have, so the painting is finished. This article originally appeared in issue 11 of Paint & Draw magazine, offering tips and inspiration for artists everywhere. Buy issue 11 here. Related articles: 7 must-know painting techniques for artists How to capture the light with oils How to draw and paint - 100 pro tips and tutorials View the full article

Recently, I was asked the question: “How would you characterize the traditional patch management space compared to how the market is evolving?” This was my answer: Patch management is a discipline that’s not evolving as fast as the markets. The main reason is that, as a rule, discussions about evolving patch management practices don’t get support from senior management, therefore end up not being prioritized by IT professionals. The root cause of this challenge is in the fact that patch management is traditionally an IT Operations function and rarely treated as an integral part of a IT security strategy. This vision is contradictory though, considering that patch management is known to be the single most effective way to prevent exploitation of vulnerabilities, and the exploitation of software vulnerabilities is one of the top means for external intrusion. Additionally, it is known that applying patches before risk increases should be possible. Here are some facts that confirm my points: 99 percent of exploitation targets are publicly known vulnerabilities. That means vulnerabilities are known, not only to hackers, but by users and system administrators long before they are exploited. Patches are available for most vulnerabilities at the day they become public. Our research shows that, on average, over 80 percent of vulnerabilities have a patch within 24 hours of public disclosure. The majority of first exploitation happens long after the vulnerability becomes public. Despite this knowledge, we continue to see high profile attacks targeting known vulnerabilities. That’s the case in the WannaCry ransomware attack and the breach of Equifax, to mention two cases with broad media attention in 2017. Both of them started more than two months after the vulnerability – and the patches for the affected versions – were made public. Those facts confirm the need for more attention to patch management practices as an effective way to close the window of opportunity for hackers and keep businesses and users protected. Addressing the challenges of managing software vulnerabilities is our “raison d’être”. The Secunia Research team works relentlessly to deliver the best intelligence that feeds our vulnerability and patch management solutions. Our customers are empowered to patch the right things, before hackers can exploit them. Contact us, if you would like to learn more about how our customers use our solutions to prioritize their work and reduce risk. Source View the full article

As an artworker at Wieden+Kennedy London, I design for print regularly. There are certain requirements that printed products need that are different to other types of design. Here's my process for getting files print-ready. Christmas offer: Save up to 47% on a subscription to Computer Arts When preparing an artwork file for print, I start with an approved file from the design team. I make several rounds of minor amends – copy and image updates, such as edits to the headline or adding retouched images. Once I receive final sign-off internally and from the client, I prepare the artwork file according to job specifications defined by the design or media channel booking. This usually includes checking the resolution and colour space, so for a print job we ensure the image is a minimum of 300dpi and in the CMYK colour space. I then set the document up to specification, making sure the document size, bleed, trim and copy safe area are correct. To ensure the artwork is colour accurate, I print a colour-certified proof to be signed off by the necessary parties. For press and out-of-home campaigns, I will adapt the master artwork to suit specific media bookings. For example, if I’m adapting a press ad for Sainsbury’s, I receive different sizes and specifications for each newspaper and adapt the file while being careful to keep the overall look and feel as close to the master layout as possible. Once adapted, files are then packaged up (collecting the individual assets, layout files, fonts, graphics, images) or formatted to a particular file type, according to the printer’s requirements. We then supply to the printers or production partner ready to print. Balancing print The Three Holiday Spam campaign pictured above centred around people bragging via holiday snaps. As this was for print, the files were created in InDesign in the CMYK colour space. All images had to be a minimum of 300dpi and in the correct colour space. Colour adjustments were made so that the execution felt balanced and some of the duller images still popped. It was important that the white space between the images was consistent and exact and that the copy sizing, leading and tracking adhered to Three’s brand guidelines. I also ensured the T&Cs, hashtags and URLs were correct. This article was originally published in issue 272 of Computer Arts, the global design magazine – helping you solve daily design challenges with insights, advice and inspiration. Buy issue 272 here or subscribe to Computer Arts here. Special Christmas offer: Save up to 47% on a subscription to Computer Arts for you or a friend for Christmas. It's a limited offer, so move quickly... Related articles: 33 InDesign tutorials to level up your skills Create special print finishes in InDesign 5 things every creative needs to know about print design View the full article

Ivan Chermayeff, the American designer behind some of the most distinctive contemporary logos, passed away on 3 December aged 85. A founding partner of Chermayeff & Geismar & Haviv, Chermayeff is widely recognised for his branding work, as well as his output as an author, illustrator and collagist. Born in London in 1932, Chermayeff was the son of Russian-born industrial designer Serge Chermayeff, who also enjoyed a diverse career as an author and architect of the De La Warr Pavilion. In 1940, Chermayeff moved to the US and went on to study at Harvard, the Institute of Design in Chicago and Yale School of Art and Architecture. A formal education was not the source of Chermayeff's artistic talents, however, as he once claimed that studying chemistry would have given him the discipline that he needed to succeed as a graphic designer. After graduating, Chermayeff worked as an apprentice for fellow American graphic designer Alvin Lustig and designed record covers at CBS. He founded his own New York studio with Tom Geismar and Robert Brownjohn in 1956. The studio, which would later become known as Chermayeff & Geismar & Haviv, is the source of over 100 renowned corporate logos, including designs for NBC (see the famous peacock above), Pan Am, Showtime Networks, and HarperCollins. Major non-profits and cultural institutions also got the Chermayeff & Geismar & Haviv treatment, with the likes of The Museum of Modern Art, National Geographic, and the Smithsonian Institution among its many clients. Speaking to us in 2015 for our branding article, Chermayeff described his meticulous approach at Chermayeff & Geismar & Haviv: "We not only insist on seeing what they do, but on talking directly, face-to-face, to those in charge of any decision-makers – the CEO and others responsible for strategy, design or marketing." Alongside his career as a designer, Chermayeff enjoyed success as an illustrator. His bold style lent itself well to text by Kurt Vonnegut in the book Sun Moon Stars. As part of the studio he helped to create posters for the Guggenheim, magazine covers for Bloomberg Businessweek and a 9/11 editorial for The New York Times. Chermayeff served as president of the American Institute of Graphics Arts (AIGA), while Chermayeff & Geismar & Haviv received the AIGA Medal for graphic design and visual communication in 1979. Chermayeff's contribution to modern graphic design has been monumental, with artists taking to social media to pay their respects to the creative genius. Related articles: The designer’s guide to using colour in branding The top 10 big-brand logos Interview with Chermayeff & Geismar & Haviv View the full article

We're in a world where communication increasingly takes place online, and GIFs are on the rise. They now permeate everything from popular culture to ad campaigns. For the next generation of designers and developers, knowing your way around motion graphics and having a good understanding of the basics of creating a GIF is essential. A good GIF can be playful and full of dynamism, or it can be slow and smooth; whatever describes the feeling behind the moving images. The key is to understand what makes an eye-catching GIF and create a language that fits the mood of the message. However, there are some rules to learn and tools that can help you on your way. Here, creatives from leading studios, as well as some well-known freelancers, share their tips for mastering the art of the GIF. 01. Keep it eye-catching With social media usage hitting an all-time high, it's perhaps no surprise that the trend for GIFs in advertising is rising rapidly. "Using GIFs in social content can be really powerful if executed right, " says Tom Grant, a designer at Fiasco Design in Bristol. He sees GIFs as the ultimate attention-seeking device, bringing what would be a flat, static post to life in "eye-catching, engaging and informative ways". Fiasco Design created a range of energetic GIFs for the Rio 2016 Olympics Fiasco Design created a range of lively and energetic GIFs for the Rio Olympics, combining a vibrant colour palette with quick, flashy frame speeds, and experimenting with a typeface that would be legible at different sizes. 02. Keep the size down for social sharing For designers, there are a few rules to making effective GIFs for social platforms. "The main technical challenge is keeping them below the file size limitations of each social media platform, " suggests James Curran, senior director at global production company Partizan. "Tumblr in particular is always tricky as it has a 2MB limit, so I sometimes need to be creative with ways of shortening loops to keep the size down." There are also some particular rules for creating GIFs that will be compressed: first off, stick to a limited colour palette. Avoiding gradients is essential, as you'll end up with either grubby shading or huge file sizes. Semi-transparent pixels are also a no-no, as the transparency is either fully on or fully off – something to keep in mind to avoid those jagged edges. 03. Design with mobile users in mind Although different types of websites use GIFs in different ways, most designers agree that it's better not to have a huge number of GIFs playing at the same time on one page. Curran recommends using rollovers to avoid slowdown, and to keep the animations playing at the speed they were intended to. And it's worth bearing in mind the kind of devices that your GIF is going to be viewed on. Curran's tip is to design with a small screen in mind: "Keep everything simple and bold so it works well on any device." Russell Etheridge, a member of Animade's creative team, favours designing in a square. "Many of our GIFs start in that shape and get cropped if need be. Also, you tend to scroll social sites in portrait on your phone, so it's better to have a design closer to a square as narrower images will look smaller." For his Olympops GIF (above) Etheridge animated everything in 4:3, which could then be cropped to a square or standard 16:9 video. 04. Make it work as a continuous loop Parisian designer Valentin Adam, who works as Playground Paris, argues that rather than thinking about GIFs specifically, it's the concept of the 'loop' format that is gaining pace: "It's really fun to make a two-second animation that plays infinitely and looks like it's different at every loop." Curran agrees, and suggests thinking about GIFs as being continuous, rather than having a definite start and end point. "Try to tell a story that works within the loop, " he suggests. "I think that helps to keep people watching GIFs for longer." James Curran's playful GIFs have propelled him to a giddy level of popularity If the animation is short in length, it's good practice to limit the loops to no more than three times before halting the animation completely, recommends Nick Lewis, a designer and frontend developer at Fiasco Design. However, if you're designing the GIF to go on a social media platform such as Twitter you don't need to worry so much, as built-in functions only play GIFs when they are in view. Finally, it's essential to get your loops nice and smooth – and there's one particular pitfall to avoid. "Having the last frame of your animation the same as your start results in a tiny little hold where you see the same frame twice, causing an un-smooth loop, " Etheridge points out. "Make sure you remove that one at the end to avoid this." 05. Find the right tools for you For the majority of designers, mastering Photoshop is pretty much key when it comes to making your own GIFs. Curran recommends YouTube as a go-to resource for online tutorials to pick up software basics: "Once you've got a good understanding you can figure out how to adapt those principles to the style of work you want to create." Grant suggests playing around in CodePen: "It holds great sources of inspiration and offers a place to learn and get creative with code; whether you're a novice or a seasoned pro." For more complex GIFs, After Effects is many designers' tool of choice. "There is much greater control over the movement and timing functions, as well as some extra tools to create really powerful animations, " reveals Lewis. If you're looking to brush up your After Effects skills, try Curran's GIF-making tutorial (above), our guide Get started with animation in After Effects or our compilation of 40 amazing After Effects tutorials available online. It is possible to export your designs as GIFs directly, but Lewis suggests exporting as a video first: "It seems to be easier to compress that way and reduce the file size." 06. Start off simple With all these different options, it's easy to get overwhelmed. "Because there are many variables to consider, there is a lot of testing and technical know-how required. It can take twice as long as a usual illustration turnaround to create a looping GIF, " says Melbourne-based illustrator Ellen Porteus. Her advice to beginners is to keep things simple: "Start with a few elements, to understand how things move, and slowly build up to more complicated animation. I started out by creating a lot of bouncing balls." Valentin Adam (aka Playground Paris) built his portfolio by creating a GIF a day for a month Adam mastered the art of keeping things simple when he was working on expanding his GIF portfolio. "I had in mind to make a huge miscellaneous motion with a lot of silly and crazy things, but to make it happen I had to publish a GIF every day – partly to avoid overthinking it," he explains. He ran the challenge for a whole month, publishing the GIFs on his Instagram page. By employing a range of tricks he managed to get his average creation time down to around an hour. 07. Turn a video into a GIF Creating GIFs need not be the sole domain of illustrators – you can import any video into Photoshop to convert it into a GIF. For those whose Photoshop skills are lacking, Grant recommends experimenting with Giphy, which provides a free, simple way to break your videos down into frames. "I don't really use the frame animation system in Photoshop, as video layers are much more intuitive," comments Etheridge. "If I'm animating graphics I'll animate in After Effects and import into Photoshop as a rendered video file before converting." However, he points out that if you're making a GIF from live action video footage, achieving a smooth loop is going to be much trickier, as is getting an even colour. 08. Make it accessible for everyone To ensure content can engage with a wider audience, developers need to be mindful of accessibility and web standards. "Web animation should always be used to progressively enhance the experience, " argues Grant. He suggests describing animations and animated GIFs in text so they can be understood by screen reader-users, and avoiding too much blinking or flashing so they remain suitable for viewers with photosensitive epilepsy. Fiasco Design's GIF for Larmer Tree Festival Animade co-founder James Chambers agrees that accessibility should be built in from the start: "Basics like providing alt tags on images – animated GIF or otherwise – should be a baseline." He also points out that for vector animation, using inline SVGs can drastically improve accessibility. Simply put, an SVG is a XML-based vector image format for two-dimensional graphics that supports interactivity and animation. "From an accessibility standpoint, inline SVGs contain more information when compared to a blank <canvas> tag, and can therefore be better interpreted by the browser, " he explains. For animation-heavy sites, Chambers suggests combining SVG with thoughtful use of ARIA labelling. Out of the box, screen readers work with regular HTML, but adding ARIA can provide screen reader users with more context and greater interactivity with content. Yet ARIA has no effect on how elements are displayed or behave in browsers – it is meant only to act as an extra descriptive layer. An incredibly useful tool for web developers. 09. Explore something new So why have GIFs become so popular? For many designers, they offer a new outlet for creative expression. "I think it's partly because the core audience for GIFs is younger, [clients] are more interested in content that is a bit off-beat, " says Curran. "For whatever reason, brands seem more open to allowing creators to be more creative with GIFs than they would be with more conventional content. Because GIFs are smaller projects with generally smaller budgets, it's less of a risk for brands to use this format to try something different." Ellen Porteus designed this looping GIF for Quantcast Porteus agrees: "It's all about making the most of the flexibility of the digital medium. Traditional illustrations are great, but GIFs can be really engaging, fun and clever. For me, the most engaging GIFs are the ones that loop seamlessly and infinitely, with a lot of movement and playfulness." As for what makes a great GIF, intuition has something to do with it. "It's about having an understanding of basic animation principles, a sense of rhythm, and being able to think of an idea," concludes Curran. "I'm still learning all of those things myself after over 10 years of animating!" Main illustration: Yukai Du This article originally appeared in issue 287 of net, the magazine for professional web designers and developers – offering the latest new web trends, technologies and techniques. Subscribe to net magazine here. Related articles: What CSS framework should you use? Fresh ideas for building websites 30 amazing vector art tutorials View the full article

Push your renders like never before with this free Cinema 4D guide from the makers of 3D World and 3D Artist. Inside you’ll find 29 pro tips and workflows on character rigging, how to create walkcycles quickly and easily, pattern creation, graphical animation and more, all using Cinema 4D's Voronoi Fracturing. Download your free Cinema 4D guide Through 29 expert tips, you’ll find top advice for using new features in Maxon's latest release, Cinema 4D R19 from pros such as Edna Kruger – who writes for Maxon’s Cineversity learning platform. Kruger shares her advice on pose space deformation, PBR with AMD ProRender, MoGraph effectors, fragment destruction and more. You’ll also get an in-depth tutorial on the power of fracturing, so you can upgrade your motion graphics and destruction for VFX instantly. Jonas Pilz teaches you to work with Voronoi Fracture for true flexibility and create patterns, destruction, graphical animations and sort fragments for truly spectacular 3D art. Last but not least, Glenn Frey shares his essential techniques for rigging in Cinema 4D, including how you can effortlessly rig a character, use Character Builder (Cinema 4D’s autorigging system), and master walkycycles with CMotion. Frey has also provided plenty of videos so you can watch his animations in action while reading his detailed explanations at the same time. And don’t forget, you can download a free trial for Cinema 4D here! View the full article

What were the biggest graphic design trends of 2017, and what graphic design trends will be big in 2018? As the year draws to a close, we asked leading designers and studio heads to reflect on the last 12 months, identify the biggest movements of the moment and forecast what will be big in the new year. Just as when we brought you the biggest illustration trends of 2017, this isn’t about following the creative herd: it’s about taking stock of where the design industry is right now. Whether you use these trends to be inspired or move steadfastly in the opposite direction, the information here can help inform your design choices in 2018. Read on for our predictions of the biggest graphic design trends of 2018… 01. The 'Little Big Idea' Moonpig’s rebrand was about sweating the small stuff “The design theme of 2017 was big impact, but paradoxically the best work achieved it by really sweating the small stuff,” says Chris Moody, creative director at Wolff Olins. “The things I have found the most striking are the consommés – those jobs that focus on something singular and use it to create something with clarity, distinctiveness and beauty: the ‘Little Big Idea’. “This year was about simple ideas, executed with intelligence and insight to create real, radical impact. W+K’s work on the Dutch women's football team was a tiny logo tweak that managed to question heritage, patriarchy and even what a logo stands for. The Moonpig rebrand did more with the kerning of an ‘o’ than a thousand animated cartoon characters ever could. “If 2018 is going to be as chaotic, channel-hopping and crazy as this year was, elegant logic will be the only way to cut through.” 02. Braver colours The Dropbox rebrand made strong use vibrant colour “2017 has been a riot of colour, with graphic designers making big, bold choices,” says Shaun Bowen, creative partner at B&B studio. “Perhaps in an effort to inspire positivity after a difficult year in 2016, we’ve seen an influx of bright colours, often with flat graphics and only one or two colours used at any one time,” he adds. “More and more brands are also using their core packaging hue as the backing colour in posters and supporting graphics. Max Ottignon, co-founder at London branding agency Ragged Edge, tells a similar story. “We’ve noticed our clients getting braver,” he says. “Fluoro colours and clashing tones have moved away from edgy startups into the mainstream. eBay’s new identity has colour right at its heart, using it as a way to communicate both its breadth and inclusive personality.” Mireia Lopez, creative director at DARE, concurs. “We’re seeing the use of vibrant colours in juxtaposition with bold imagery,” she says. “This can be seen as a response to minimalism and material design, from using white spaces and clean layouts to unexpected colour combinations and distinct varied typographical styles – and is across all areas of branding as well as digital. “The new Dropbox brand direction, for example, is doing this with its creative use of images, and corporate identities such as NatWest are shifting to a fresh and modern feel, using the potential of brighter colours to increase higher conversion rates. In my field, digital, this development is probably due the fact that sites can load faster and screens on phones are bigger, so it’s easier to play with images.” “Using bright colours helps content stand out from meme-filled social media,” notes Nathan Sandhu, founder and creative director of Jazzbones Creative. 03. Brutalism is back North Design’s branding for the Southbank Centre, London “Although it’s been around for a while, Brutalism is one of the graphic design trends I’ve seen really kick off this year,” says Lopez. “The Southbank Centre’s rebrand by North is an obvious example. The simple branding and typeface used have been inspired by and go really well with Southbank Centre’s brutalist architecture. “We’ve also definitely seen web design being influenced by the principles of the movement,” she adds. “Balenciaga’s over-functional, anti-aesthetic site is the most impressive manifestation of this in my view.’ Our article Are brutalist sites the web's punk rock moment? explores this trend in web design terms in depth. 04. Hyper brand distillation YouTube’s new logo and branding, designed in-house “Throughout 2017, design has been getting simpler, yet richer,” says Ottignon. “In a world where user experience is king, complex brand systems get in the way of the content. Function overrides superfluous design details, and every brand asset needs to earn its place.” So brands are striving to streamline their core assets, but looking to pack more meaning and distinctiveness into each element, he argues. Often this starts with the name. "Naming briefs are increasingly becoming ‘How can we distill as much meaning into as few letters as possible? Bulb remains a great example of this, communicating product, purpose and tone in a mere four letters. Or Nested, a proptech startup whose name delivers on both a functional and emotional level." Naturally, it also means means scalable, digital first symbols packed with meaning – think YouTube or F1, where an entire brand can be distilled into an app tile or a profile picture. “There’s also a noticeable trend towards bespoke typefaces, such as IBM’s Plex and BBC's Reith – not to mention Camden Market and Giraffe,” adds Ottignon. “This allows a brand to show up distinctively wherever it appears, without introducing anything that isn’t strictly functional.” 05. Modern still life Tiffany’s Christmas campaign, created in collaboration with Roe Ethridge The use of high-end, styled and modern-looking still life has been everywhere this year. Giacomo Cesana, creative director at CBA Italy, describes the look as: “Contemporary, geometrical and a bit abstract. "Works that use flat colours with simple objects and shapes have been trendy this year, especially in fashion and the luxury market. Tiffany’s Christmas campaign, created in collaboration with art photographer Roe Ethridge, is a good example of this trend in action.” 06. Generative identities hit the mainstream “We are seeing more brand identities making use of generative software graphics,” says Cesana. “What used to be seen as an avant-garde craft is now most definitely in the mainstream, as Nutella’s algorithm jars and the Hello Robot catalogue at the Vitra Design Museum demonstrate.” 07. Flat graphics in packaging Packaging design for wine brand Elephant in the Room by Denomination Packaging design has made a move towards simplicity in 2017, says Rowena Curlewis, CEO of Denomination, a drinks design agency in Sydney and London. “Simplicity through the use of flat graphics can be seen across all packaging categories, including wine,” she explains. “This does not necessarily mean minimalism but instead a stripping back of layers, detailing, text and tone to hone in on the core information and graphics. These are then treated in a simple, deconstructed manner. “For example, the wine brand Elephant in the Room, Fourth Wave’s latest success story, has taken the Australian wine market by storm with its single colour label design. Featuring just the core information and intriguing illustrations, the contrast of its simplicity with the complexity of its competitors’ designs has ensured both distinctiveness and strong shelf standout.” 08. 3D modelling in typography 3D work by David McLeod for Dolby “3D modelling is the new frontier of graphic design,” says Cesana. “This has especially been seen in type design, but also in pattern generation.” Sandhu also points to a potential future trend: “One-colour 3D design is growing in popularity. There has been more and more product marketing that uses the same bold background colour as the featured product itself: the product leaps off the screen thanks to the volume created by the 3D techniques.” For examples of the 3D trend, check out the work of Locus and David McLeod, whose work for Dolby is shown above. 09. Geometric type breaks the Helvetica cycle This campaign for Logitech by Designstudio highlights the trend for geometric type “The use of geometry in both graphic design and type design has grown this year,” says Lee Fasciani, founder and director of Territory Projects, a sister company to Territory Studio specialising in brand and digital. “The use of Helvetica used to happen in cycles – largely driven by the lack of alternatives (notwithstanding Akzidenz Grotesk) – but now it seems the wealth of well-crafted geometric sans serifs available make designers think differently about choosing the trusted typographic statesman." "Google Fonts and the ability it gives designers to easily incorporate digital fonts into web pages is one of the reasons for this, bringing typographic consistency to branded collateral across all channels. Geometric sans serif fonts also have the ability to be relatively ageless, like most geometric design." “There is a bold clarity and honesty to such fonts that have now been used by many large corporations to communicate the simplicity and openness that their brand team requires,” he concluded. “Examples of the trend can be seen in the use of LL Brown by Airbnb, Natwest and Thameslink, and LL Circular by Spotify and Eurosport.” 10. Hand-drawn elements continue Ad and poster campaign for Mercedes Germany by Vic Lee “Hand-drawn images have been particularly big in 2017,” adds Sandhu. And that’s not surprising. “The personal touch that they provide to branding and marketing is undeniable,” he stresses. “In a world ever-more dominated by screens, there is just something appealing about the hand-drawn that resonates with many.” Similarly, Dan Bramham, senior designer at Greenwich Design, points to the recent rise of black and white hand lettering over the last 12 months. “I particularly like the work of Oli Frape and Vic Lee,” he says. “It's fantastic to see something a bit less polished, and that really stood out for me this year.” And he sees it as part of a wider trend. “It goes hand in hand with the movement away from the very technical and a return to an artisan approach, which we're seeing across everything from food to the resurgence of handicrafts, and the search for a more balanced way of life. "Similarly, there's been a move away from polished photography to more gritty, real-world photographs. I think this all stems from the Millennial generation looking for design that has a bit more integrity, and the manifestation of physical art in graphic design has really struck a chord." Simon Wright, managing director at Greenwich Design, makes a similar point" "One of the things we've noticed in 2017 is the desire to be more personal through design – a nod to a previous era,” he says. “Clients sending a beautifully designed postcard or a hand-written letter for example; a return to old-fashioned methods of communication as a means to stand out.” Liked this? Read these: 9 tools to make graphic design easier in 2018 Illustration vs photography: how do you decide? 8 great graphic design portfolio sites for 2018 View the full article

Animation has come a long way on the modern web, and users now have multiple choices of ways to make something move on screen. With so many options – such as CSS, JavaScript, SVG, the Web Animation API – how can you be sure which is the best choice for your project? Val Head is a web animation expert, author, and design evangelist at Adobe. She also teaches CSS animation on Lynda.com and curates the weekly UI Animation Newsletter. Head will be speaking at Generate New York – the web design event brought to you by the makers of net magazine, Creative Bloq and Web Designer magazine – on 25-27 April 2018, where she will be revealing which web animation options are the best fit for common UI design tasks. In her talk, titled Choose your animation adventure, she’ll look at the full spectrum of animation options from CSS to React Motion and show which are best suited for things like state transitions, showing data, animating illustrations, and making animations responsive. Once the options have been explored the next step is to look at the tools and how they impact performance. Head has the answers. Head will also lead a workshop at Generate New York, titled Essential web animation techniques. The blurb for this workshop says: "This workshop will get you started with the essentials of web animation. It covers the basics of motion design theory as it applies to the web, and how to use animation to improve the user experience. "In addition to the theory, we’ll use hands-on exercises to explore the similarities and difference of animating with CSS, JavaScript, and SVG. You’ll leave knowing how to bring your work to life with motion in meaningful ways and which web animation tool to use to get it done." Visit the Generate New York conference site to see the full, star-studded line-up, and book your early bird tickets now. Related articles: How to debug web animations 5 steps for mastering web animation 15 Web APIs you've never heard of View the full article

This artwork was created using CorelDRAW's Expression tool Much as a painter would carefully consider which brush to use when creating a masterpiece, digital artists must choose wisely when it comes to software, ensuring it has all the correct tools to help bring your creative visions to life. That’s where CorelDRAW Graphics Suite 2017 excels. Created with care for professionals and hobbyists alike, this value-rich suite has everything you need to achieve your artistic visions. CorelDRAW Graphics Suite 2017 has an abundance of features aimed specifically to inspire, enhance and aid an artist’s workflow CorelDRAW Graphics Suite 2017 has an abundance of features aimed specifically to inspire, enhance and aid an artist’s workflow, including multi-monitor, 5K and real-time stylus support, the amazing new LiveSketch tool, enhanced vector previews, nodes and handles, the Healing Clone tool in Corel PHOTO-PAINT, plus the ability to copy, past and duplicate curve segments. Several predefined workspaces are also available to help keep all the tools specific to your industry organised and easily accessible. Choose between Page Layout, Illustration, or set your workspace to look like Adobe Photoshop or Illustrator to help ease the transition from Creative Suite. Tool of choice An extremely popular choice, CorelDRAW is already being used by many talented creatives all over the globe, including renowned fine artist Dmitry Demidenko. Progressing from a simple designer in a small provincial printing service to a world-famous artist in just five years, Demidenko not only uses CorelDRAW to create his masterpieces, he also teaches numerous masterclasses about it, sharing the software’s extensive capabilities with other artists. Another award-winning artist fully exploiting CorelDRAW’s comprehensive toolset is Rogelio Hernandez Garcia. Having spent a lot of time using the software, Garcia entered the 2015 CorelDRAW International Design Contest, and ended up walking away with first prize in the Speed Drawing Category. In the video walkthrough above, Jared Nickerson of Jthree Concepts introduces a brand new feature of CorelDRAW Graphics Suite 2017: the Artistic Media Expression tool. “What makes this tool so great is that it detects not only the pressure of your stylus pen, just like other Corel tools, but also its tilt and bearing,” explains Nickerson. “This allows you to achieve some great detail with single strokes, and also helps mimic your personal hand-style a little more accurately.” I used the Expressions tool from start to finish. I wanted to keep it fun and experimental Jared Nickerson, jthree Concepts Just as its name suggests, the tool is versatile and designed to help you express yourself in any way you like. “I would often use this for sketching out initial ideas, adding a layer of highlights and shading to a detailed piece,” he continues, “but in the video I use the Expressions tool from start to finish. I wanted to keep it fun and experimental.” As with most of the other vector tools in CorelDRAW, the strokes you make using the Expression tool are entirely editable. “At any point in time I could go into some of these shapes and manipulate the individual nodes to get the exact shape and flow I want,” Nickerson says. “What’s nice with CorelDRAW now is that you can change the colour, shape and size of nodes to make them easier to edit, no matter how simple or complex the piece is.” Try before you buy As a creative, it’s important to make sure that the software you choose is a right fit. The team at Corel knows this too, which is why they offer a try-before-you-buy option by way of a free trial. But with the flexibility and accuracy you need for all manner of creative projects, and a vibrant and inspiring community to assist you along the way, you’ll almost certainly be hooked after sign up. So download your free trial today and bring your creative visions to life. View the full article

Everyone from the most seasoned creative director to a graphic design graduate fresh out of college knows that creatives and clients don't always see eye-to-eye. While designers will value innovative ideas highly, they're not worth anything in a client's eyes if they don't directly make them money. This difference of values can be frustrating at times, but this short animated video made by design resource website pixelo manages to find a funny way to look at them. Covering everything from their respective roles, to how they see colour and typography, this clip reveals the contradictory outlooks of graphic designers and clients with beautifully realised animations and icons. Now this doesn't mean that every client prioritises profit over imagination, or that graphic designers are creatively incompatible with a business mindset, but we're sure you'll agree that there must be at least a grain of truth behind this video. The fact that clients are impressed by designers' use of software they've never heard of is at least a reason to feel smug. If you liked this video, pixelo has a load of others over on its YouTube channel, such as Top reasons not to date a graphic designer ("They want to save the world with a post" admittedly being a pretty good reason) and The difference between art and design (Good art is interpreted, while good design is understood, being a useful mantra to trot out to relatives who don't understand what it is you do). Liked this? Read these: 5 top tips for graduate designers The 9 most annoying things every designer does 26 books every graphic designer should read View the full article

You're reading Mozilla Releases Open Source Speech Recognition Engine and Voice Dataset, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! After launching Firefox Quantum, Mozilla continues its upward trend and releases its Open Source Speech Recognition Model and Voice Dataset. Well, Mozilla is finally back! In the past few years, technical advancements have contributed to a rapid evolution of speech interfaces and, subsequently, of speech-enabled devices powered by machine learning technologies. And thanks to Mozilla’s […] View the full article

You're reading Responsive Web Design: 50 Examples and Best Practices, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! Responsive web design term is related to the concept of developing a website design in a manner that helps the lay out to get changed according to the user’s computer screen resolution. More precisely, the concept allows for an advanced 4 column layout 1292 pixels wide, on a 1025 pixel width screen, that auto-simplifies into […] View the full article

You're reading Snapchat Separates the Social from the Media in the Latest Redesign, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! When was the last time you’ve seen Evan Spiegal, Snapchat CEO on YouTube? About two years ago. In a video titled “What is Snapchat,” Spiegal shared with us his wonderful handwriting and, of course, explained to us why we need Snapchat. It all starts with a snap! Snapchat began as an escape from social media, […] View the full article

The right landing page design can make or break a website – as this is the first thing your visitors will see, if you get it wrong, most people won't hang about. Landing page designs should clearly convey the unique selling point (USP) for the product or service, and focus on one call to action (CTA), such as getting the visitor to register their details or to make a purchase. Whatever the goal, it's up to the design of the page to channel the user towards it, whether through use of white space, contrasting colours or more explicit directional cues. Clear, succinct headers and sub-headers and punchy, easily scanned bullet points are the order of the day. The landing page should be prominently branded, often incorporate a hero image to communicate the product or service at a glance, and cut straight to the point to avoid users' attention drifting. With all of that in mind, we've pulled together some particularly effective examples of landing page design from across the web. 01. Interface Lovers Designing a landing page for a site dedicated to 'interface lovers' is no mean feat, but Timothy Achumba – a designer for Facebook – has nailed it here. The site aims to inspire people, provide practical advice on the craft of UI design, and celebrate different designers' unique experiences. The design places the focus firmly on content, and uses a balanced layout inspired by Achumba's first love: print. “The design for Interface Lovers, based on a simple three-column grid taken from a newspaper layout, is uncomplicated and clean,” he says. Beautiful portrait photography draws visitors in and emphasises the site's interest in individual stories. To build the site, developer Iheanyi Ekechukwu took advantage of Tachyons, a functional CSS framework that allows for granular control over the design. The result is a gorgeous, minimal design without any bells and whistles getting in the way. 02. Google Fonts Google directs you straight to the fonts without any fuss Originally launched in 2010, Google fonts are now viewed on the web over 15 billion times a day, in over 135 languages worldwide. The Google Fonts site is clean and fully responsive, using Material Design for its grid and styling. In her blog post about the project, designer Yuin Chien explains that "by building in the ability to play with scale, colour and font pairings, we invite everyone to discover and seamlessly use typefaces in their projects." And she's right; the interface is inviting and beautiful. It's also intuitive and fun to explore. Crucially it doesn't force you to jump through hoops to get to the fonts; they're right there at the top of the landing page, ready for you to play with. You can type straight into the page's text fields to test them out. And if you're overwhelmed by choice, Google makes it easy to narrow things down with tick boxes for font categories and handy sliders for number of styles, thickness, slant and width. 03. MIT Technology Review MIT Tech Review keeps it simple So many sites go out of their way to reel in those page views with fancy tricks, it's a relief to find a site that keeps things nice and simple. MIT's Technology Review, first published at the end of the 18th century, has a long and proud heritage, and its site has been tailored to showcase excellent art and be a delight to read. The landing page is a joy to behold, starting you off with a bold cover story, three secondary stories, and a roundup list of the day's top stories called 'The Download'. This enables visitors to quickly get to what matters in a no-nonsense way. A large red Subscribe CTA in the top-right also immediately draws your eye, channelling visitors to the paid website options without impeding their enjoyment of the free content available. 04. Resn The mysterious 'drop' breaks most of the rules of conventional landing page design Now let's look at a page that disregards most of the rules of landing page design, yet succeeds anyway. Never one to fall in line and use a standard UI pattern, design agency Resn has built a landing page centred around 'The Drop', an enigmatic, shimmering teardrop-shaped polygon that acts as a portal into the Resn psyche. Click and hold your mouse and you get to be, variously, a greyscale, apple-themed kaleidoscope; a bat with a ouija board that uses its x-ray laser beams to strip the flesh from people in old paintings; a fun tube; a psychedelic Yakult that dispenses bizarre clipart; and goodness knows what else. Resn has broken many of the usual rules for creating a landing page, but the result is compelling enough that you're likely to keep digging around if this kind of thing floats your boat, and refrain from wasting their time if not. 'The Drop' probably works as a perfect filter for attracting the kinds of clients the company wants to work with, and it is a truly magnificent landing page that you'll probably never forget. 05. Present & Correct Every panel is a temptationWith its neatly laid-out grid of glorious imagery, the Present & Correct site reaches out to what is surely its core audience: people who fetishise stationery. A graph paper background, pale grey colouring and classic font channel a school exercise book vibe and each panel displays a beautiful product. Stock is meticulously arranged into categories displayed in the top menu bar, and it's tempting to click through the whole lot, starting with the intriguingly-titled 'Ephemera' section. 06. Monotype Like the company itself, Monotype's landing page is about the power of typography "We are the company behind type," states Monotype's landing page, and its understated yet smart design goes hand-in-hand with this confident statement. The entire left half of the landing page design is dedicated to the company's mission statement, and there's a clever twist: through a dropdown you can view the text in an assortment of fonts, and in various weights and styles, to get a taste of what Monotype does. The right-hand side of the page is given over to a link to the Monotype library, enterprise licence, and company news, with large 'M' icons in different fonts, acting like drop caps. A muted sepia colour palette keeps the focus firmly on the fonts. 07. LS Productions LS Productions lures you in with cavalcade of gorgeous Scottish locationsLS Productions – a stills and motion service production company based in Scotland – knows what its biggest asset is, and that's what you're presented with when you go to its site. A window-filling looping video showcases a selection of the company's work, all set in beautiful locations. Scroll down and you'll learn of its three main services: motion, stills and locations. By this point the landing page has already done its job. Everything below – the gorgeous location of the week, the 'meet the team' section – is just window dressing. If you're looking to hire LS Productions then you'll have already moved on to one of the main service pages, where you'll find a wealth of relevant, well-presented information convincing you of the company's suitability. 08. O'Neill O'Neill's photo-heavy page sells the surf and snow dream perfectlyAmerican lifestyle brand O'Neill is largely focused on two things: surf and snow. And its US site makes that perfectly clear with an image-led landing page that sells you its clothing ranges and sports gear through stunning photography of big waves and snow-covered mountains. A set of drop-down links at the top of the landing page can take you straight to what you want if you know what you're after, but beneath that the landing page sets out to seduce you, with several large, image-led section links and Instagram galleries. It's all quite enough to get you dashing to the beach – or the top of the nearest mountain – but not before stocking up on O'Neill gear first. 09. Hipstamatic Hipstamatic's landing page shows what the app has to offerFor retro analogue photography app Hipstamatic, it's all about demonstrating the cool features, as well as the look, feel and intuitive navigation of the app, in as engaging a fashion as possible to draw users in. At the top of the page, a scrolling gallery strip showcases the 'Hipstamatic aesthetic' in practice, while an enormous iPhone showcases the latest version of the app, with its old-skool ClassicMode and new ProMode, with more up-to-date features. Beneath that a new strapline sums up what Hipstamatic is now all about: "Make beautiful photography", with a big CTA directing you to the App Store. 10. Apple Apple's landing page centres around beautifully shot product photographyIt's no surprise that the undisputed masters of industrial design can knock together a decent website, and the effortless simplicity of Apple.com has even won it a D&AD Black Pencil. The homepage slices through the company's extensive product range and zeroes in on just one hot product of the moment. Besides the simple navigation bar across the top, it's just beautifully shot product photography, the product name and its slogan. There isn't even a CTA here – Apple sensibly assumed its tech-savvy audience will know the image and text is hyperlinked to more information. It's a true masterclass in restraint. 11. Pinterest Pinterest is so well known, its landing page doesn't need to work hard to sell itselfPinterest knows what it wants, and is in no mood to beat about the bush: it's sign up or nothing. The popular online scrapbook is confident enough in its brand and burgeoning reputation not to worry too hard about selling itself, or giving users an opportunity to browse around some boards and risk getting sidetracked. Behind the signup card, one of Pinterest's scrapbooks of glorious photography scrolls tantalisingly upwards, giving a taste of what's on offer for users. This is a stripped-back and beautified version of what you actually get – no wordy descriptions, ads or repin info clutters up this version of the homepage. Related articles: CSS tricks to revolutionise your web layouts 10 great uses of imagery on agency websites Fresh ideas for building websites View the full article

Researchers have found a flaw in the original fix for the Dirty COW vulnerability patched in October 2016. View the full article

Think back to your latest digital project. It probably came about because something old had problems, or someone identified an opportunity to do something better. Almost all of our projects (excluding those for learning or fun) are borne out of a desire to improve. We want to make websites faster and more secure, with a UI design that makes them easier to use and great to look at. Christmas offer: Save up to 47% on a subscription to net magazine The rate of change of technology available to us means there’s always something we can be tweaking to take advantage of the latest spec, API or library. Nothing stands still. Everything moves and we, as people who work with the web, move with it. Why you should think broader My career is a good example. Starting out as a back-end developer, I got more and more interested in ‘whys’ and my work shifted towards discovery and strategy. I started caring more about the people using websites hand-in-hand with learning more about technology; letting users influence solutions. It often doesn't matter how good your design or code is – other factors can have a big impact on the success of projects. As a developer, I was always asking questions. Did the site need to be multilingual? Would a CDN help us better serve them? How would people be searching, so I could structure data accordingly? All of these questions came from wanting to make sure I was making the best possible websites, yet my thinking was starting and finishing with the website itself. That all changed when I began to work for myself a few years ago, and the projects that I was working on shifted slightly. Rather than websites being the beginning and end point, I realised that looking at everything else around them could also make a huge difference. It often doesn't matter how good your design or code is – other factors can have a big impact on the success of projects. Think about everything around a website, not just the web project at hand The space I now work in is best described as ‘digital transformation’, which is a phrase I have a love/hate relationship with due to its buzzword-tastic usage. For me, my work is all about positive change; about using digital technologies to make things better, as well as about helping people to be able to work better with technology. By looking more broadly than just immediate concerns, we can not only remove some of the repeated problems we may face when making websites and putting them into the wild, but we can also use our digital skills to make the world a better place in general. Here are a few examples of situations where there's a good chance for positive change to happen: The brief was to create a beautiful set of new pages and patterns to replace an old, failing site, but the existing CMS continued to spew out inaccessible markup, and was also really awkward to use, so content never got updated. The website therefore failed. A highly experienced lead developer is always a big advocate of performance, but because senior management slashed their project time in half, they have to cut corners. Lots of different systems and technologies are used through a lack of strategy. The development and ops teams are finding it hard to support them all. Old, paper-based processes are taking up staff time and introducing manual errors. Data is locked away in elaborate databases, and the insight available from it isn't being used by non-technical people who could benefit. When you start to look into the root causes of why websites or digital projects may suffer the same issues, or identify other areas that could be better, you'll likely discover that findings fall into the following areas: technology, processes, people/culture, and strategy. Other factors that can affect your web projects Technology Where technology isn't yet in place and maybe should be, you might have issues around inefficiencies or inaccuracy. However, when poor choices are made, other problems may occur. Are you making technology choices based on personal developer convenience and preference, or are there impacts on your users, the rest of your business, or your teammates? Thinking about the future, scalability, extensibility and the ability to react are all important, and should be part of the decision-making process. By updating the way we approach technology selection, we can try to make sure that our products are given the best chance, and our teams kept happy. Processes When we start to peel back the layers of everything that lies around our websites, we can often find manual or tedious processes that can be improved. This goes for our own project workflows as well as customer journeys, or back-office tasks. Trying to find ancillary processes we can update can provide us with new opportunities to make people's lives easier, do things more quickly, or change older ways of thinking. Many process points that get taken at face value are worth questioning, as their importance may be being overstated, and could be prime opportunities for radical change. Web design includes every person involved People and culture The people involved in a website aren't just our end-users – they're our customers, but they're also those people making our sites, updating them, the business stakeholders who need to get information out of them, and the managers influencing the process. It's everyone who's involved or who will be. Are our teams structured well with all of the roles we need? Do they have the right skills and training? Is the culture right for everyone to work well, and are they happy? Is everyone pulling in the same direction? If we have the right mix, the culture they work in is as good as possible, and if everyone has the skills, knowledge and support that they need, then our projects will be much better. Strategy Underlying much of this is strategy itself – what the plan is for digital, how teams will evolve, which areas are a priority for change, and how technology selections are made. Strong leadership, an ability to embrace change and try new things, and the ability to trust experts within a team can all play a valuable role. When the strategy, leadership and direction are good, the above areas are more likely to be working more seamlessly. What's beyond websites As time and technology have moved on, I've watched the ebb and flow of different technologies with interest and with some awe – we can do incredible things with the web now that I'd never have thought possible when I started out. Consider thinking beyond users, into people who build sites, those behind the scenes, and everything else feeding in It's only getting more exciting: the current fixation with AI and machine learning, VR, interfaces beyond screens, and the Internet of Things movement grant us a lot of possibilities – not only for our customers but also for our own work practices. The technology available to us progresses every day, and coupled with that, as an industry, I think we've mostly become fantastic at thinking about how it impacts on users. We can work to make our websites better – turning those checks green for performance, passing accessibility testing with flying colours, or using newer concepts like PWAs to save people both data and exacerbation on trains. Next project, however, consider thinking beyond users, into people who build sites, those behind the scenes, and everything else feeding in. Look more widely to find areas you can change for the better with digital skills – whether that's teaching those around you, looking for processes to update, or viewing technology through different lenses to make a selection that works for everyone. Let's reclaim digital transformation from buzzword bingo and instead use it as an aspiration – making positive change happen beyond the confines of our website boundaries and browser chrome. Illustration: By Kym Winters This article originally appeared in issue 297 of net, the magazine for professional web designers and developers – offering the latest new web trends, technologies and techniques. Buy issue 297 here or subscribe to net here. Special Christmas offer: Save up to 47% on a subscription to net magazine for you or a friend for Christmas. It's a limited offer, so move quickly... Related articles: Are brutalist sites the web's punk rock moment? How to market yourself as a freelance designer: 7 top tips CSS tricks to revolutionise your web layouts View the full article

English comedian Adam Buxton recently described The Face (through the tongue firmly in his cheek) as a magazine which he “wasn’t allowed to buy” because he “wasn’t cool enough, and they were printed with special ink that burned you if you hadn’t taken enough drugs.” While reports of that particular design flourish are unsubstantiated, what is confirmed is that The Face has an enduring reputation of being very, very bloody cool indeed. A vast number of people cited it as having changed their lives and careers at this year’s ModMag magazine conference (even though most of these people weren't yet embryos in the magazine’s heyday.) So with all this rabid hipness, it’s little surprise that we now have a book telling the story of The Face – The Story of The Face: The Magazine that Changed Culture, by journalist and author Paul Gorman. The Face's art director, Neville Brody, was free to experiment with his designs The Face was launched in 1980 by NME editor and Smash Hits creator Nick Logan, and blustered into being as a totally unapologetic, edgy enfant terrible that was the first of its kind to report on youth culture from a broader sphere than music alone. Instead, the magazine looked at 'pop' and all that sprawling three letter word touched on through lenses of fashion, photography, film, drugs, and generally being a young person disillusioned with life under grey, right-wing Thatcherism. And as with so many things adored by the young, The Face was as stylish as it was substantial in content: for the graphic design community, Neville Brody’s stunningly original and groundbreaking approach to editorial design was a watershed moment in what could be achieved and the boundaries that could be pushed when it came to typography, layout and art direction. This book celebrates the quirkiness of The Face In an interview with The Guardian, Brody described The Face as “a living laboratory where I could experiment and have it published. Our golden rule was to question everything. If a page element existed just as taste or style, it could be abandoned. Page numbers could be letters or shapes increasing in size. We could start the headline on the page before.” Brody was at the magazine from 1981 until 1986, by which time he says he had “reached the end of an era. The new had become the normal.” So why do we need this book now? There’s talk of The Face being revived as a digital platform, so maybe Gorman knows something more about that than the rest of us. But whatever the politics or relaunches or issues around The Face, the fact remains that for journalists, photographers, designers, and everyday suburban kids – whether in the 1980s or 2017 – it’s an artefact that remains bold and inspiring. Special shoutout for pages 280-281's glorious snaps of Damon Albarn and some pretty wild staircase carpeting The fact that those feelings are echoed by 'the man' and big institutions (in 2011 The Face was added to the permanent collection of the Design Museum, London, and featured in the Postmodernism exhibition and the 2013 Club to Catwalk exhibition at the V&A), doesn’t mitigate the publication’s countercultural flair. At a time when everyone and their guinea pig seems to be crowdfunding a magazine; yet where 'mainstream' publications are rapidly closing, it’s certainly an interesting time for publishing. And what this book does is tell of the lows of The Face, as well as its legacy and successes. And we all need a little injection of realism in our nostalgia occasionally. Related articles: How to design a striking magazine cover 26 books every graphic designer should read How to get your work featured in an industry-leading magazine View the full article

The GT-220 V2 is Huion's latest version of its GT-220 pen display, with the main new addition being over 8,000 levels of pressure sensitivity from its new pen, which has a soft touch rubber coating but remains rechargeable. The pen is included with the graphics tablet, which has a full retail price of $799. The pen is the main interface between the user and the tablet, so how the tool feels in the hand is critical to the experience. Huion delivers with a lightweight yet sturdy stylus, the nibs of which are hard, but not to the point of losing good feedback levels. There are two programmable side buttons, although you might want to define one of these as an eraser, because the USB charging port is housed where other manufacturers put a dedicated eraser nib. A full charge of the pen takes just an hour and regular daily use will see a charge lasting three weeks, so there are no worries about downtime. The supplied stylus has a soft feel without being too rubbery Huion GT-220 V2 screen Although stylus feel is important, the screen itself will play the largest part in the creative process, and it's here where the GT really excels. Other manufacturers use a matte coating to enhance the feel and prevent any palm friction, but Huion has opted for a high-gloss finish. This helps deliver excellent clarity, saturation and contrast at full HD resolution and is a pleasure to look at for extended periods. The screen's gloss finish could lead to sticky hands that smudge their way across the surface when drawing, though. Since this is a drawing tablet, after all, that would be pretty problematic. Huion's solution is to supply a drawing glove that covers your palm and little finger, which will work wonders on many devices. We found it counters any surface issues perfectly. The bottom edge of the display has a thick, rubber strip that serves as a cushion and keeps the device in place as you lean on it Huion GT-220 V2 build and performance A slim silver bezel surrounds the screen, with menu buttons at the bottom right. The tilting adjustment is a one-hand operation, with slippage stopped by a thick rubber base. Heavy pressure on either upper corner can lead to a little movement, but not enough to hamper productivity. Where the lower price is more obvious with the Huion GT is the screen menus, which are more on a par with a standard monitor of a few years ago than that of a modern designer's tool. This in no way holds back the tablet in use, and adjusting contrast, brightness and so on is still achievable, of course. The main downside to the Huion GT-220 V2 is a lack of shortcut buttons on the device, but at this price it's a small sacrifice. Video signal can be supplied via HDMI or DVI cables, and the GT even boasts workaday speakers. The quality on show here is very good, as is the drawing tablet's value for money. You might get a better all-round experience with Wacom's Cintiq 22HD, for example, but that costs about twice the price. Huion's screen tablet device has excellent display qualities, accuracy and a pleasing, stable feel from a stylus that, although not the best, is very useable and feels well balanced. This article was originally published in issue 152 of ImagineFX, the world's best-selling magazine for digital artists – packed with workshops and interviews with fantasy and sci-fi artists, plus must-have kit reviews. Buy issue 152 here or subscribe to ImagineFX here. Related articles: How to draw and paint - 100 pro tips and tutorials The best Wacom tablet deals The best drawing tablet: our pick of the best graphics tablets in 2017 View the full article

Beautiful, relevant imagery can have a huge impact in creating strong designs, and tying your campaign’s imagery in with the season is a simple way to lend it a sense of timeliness. With the winter season being special to people all over the world for its stark beauty and magical memories, using winter photos, illustrations or vectors will inject your designs with a sense of wonder. There’s no shortage of wonderful subjects to use in wintry images, with different cultural and religious festivals, foods, drinks, traditions, activities and landmarks that look spectacular in winter. Many of these subjects – and the dominant colours in wintry images – link perfectly to different brand voices that you may need to convey or emotions that you may want to evoke in your designs for promotional campaigns, website designs, passion projects and beyond. Stock images not only save time, they can also give your designs a timely feel that taking your own images won’t do (especially when designing something in November for use at New Year – you may have a snowy scene in mind, but no snow outside to photograph yourself). Shutterstock’s fantastic search filters, its plugin compatibility with Adobe Illustrator and InDesign and curated collections make finding a gorgeous photo, illustration, vector or footage easy. The following 10 images (and one bonus video) are examples of just some of the gorgeous winter images available to download on Shutterstock today. We’ve got some ideas for using them in your designs below each one, but of course that’s up to you – there’s no limit to how you use them. 01. A sense of hygge Chilly winter nights are a great excuse to cosy up with comforting food, drink, warm clothes and loved ones. This photo sums up the sense of hygge that is ubiquitous in winter months, so would work perfectly for a brand that wants to convey feelings of friendliness, approachability and down to earth comforts. As our article 12 colours and the emotions they evoke explores, red signifies love and attracts attention, so its dominance in this image certainly provokes an emotional response. And of course in Western culture red – and the fir green seen in the socks here – is synonymous with Christmas, making this an ideal image for your Christmas designs. 02. Time for adventure While winter is a time for cosiness and comfort foods for some people, it’s also a time for bracing adventures in snow-dusted landscapes for others (or at least for imagining them). If the brand you’re designing for wants to be seen as youthful, energetic and a bit different from the norm, then use this stock image to capture its spirit of adventure. 03. Family fun Similarly youthful in its adventurous theme, this image’s depiction of outdoor action for the whole family definitely has an aspirational-yet-achievable lifestyle tone. The wholesome and low-tech activity combined with the lens flare suggests young parents can enjoy more quality time for years to come if they get on board with a brand or product that’s using this picture. 04. Seasonal magic Indulgent and magical, this image combines the sophistication of black with the opulence of gold and light that emphasises its shimmer. As this colour in branding infographic tells us, black imagery is particularly striking for high-end brands and the fashion industry in particular. The gold glitter, however, also makes it ideal for a glamorous event or luxury promotion. 05. Natural beauty With something of a Scandi feel to it, this cool watercolour painted vector is totally on-trend. Its pale blue colour palette is calming as well as seasonal for winter, so we could see this image suiting wellness and outdoor brands seeking to promote a sense of peacefulness. As it doesn’t explicitly feature any typical ‘Christmas subjects’, you could also use this image well into the new year and beyond, without your designs looking dated. 06. Spiritual art Rangoli patterns are traditionally created by Hindus celebrating Divali, to welcome the goddess Lakshmi into their homes. This colourful and joyful rangoli design bursts with energy and opulence, and shows a superb attention to detail. Use it in designs targeting the Indian market, as well as for travel brands, food brands and even beauty or fashion. 07. Abstract winter shapes This vector artwork makes you look twice, due to its delightful incongruousness. The familiar snowflake shape is transformed with all the vibrant colours of the rainbow, with painterly textures. It reminds us of crafting afternoons and homemade gifts. As a scalable vector, we think it would form a pleasing addition to a design for family events or shows in particular. 08. Handcrafted wonder As we saw in our 8 golden rules of handmade piece, papercraft is becoming big business, but is painstaking work and slow to produce. How delightful, then, that Shutterstock has a selection of papercraft art photos just like this ready for you to buy. This gorgeous image shows care and attention, and would make any customer feel valued and inspired to see this in an online or offline design. 09. Cute Christmas We got a bit carried away with searching for Christmas dogs on Shutterstock, but after much deliberation we chose this husky pup as our favourite. He’s just gorgeous, and the tree in the background of course screams of the excitement that many people feel around the holidays. Use this in a personal project, in a creative thank you to your favourite clients of the year, add humour to branding projects, or stick it on a website design for some heartwarming fun. 10. Travel possibilities Some cities and landmarks look even better in the snow, and Paris is one of them. The saturated colours in this scene are slightly filmic and dreamy, and it’s definitely an aspirational image. We can see an image like this being an asset to a consumer banking website or print design, for example, as it’s unusual without being too whacky. Bonus video: Enticing footage Finally, if your design is online then using stock footage of an enticing subject like a steaming hot drink could boost engagement even more than a great image. It grabs attention more than a still, especially on Facebook or other social media outlets, so would be a great way to increase clickthroughs for your online campaigns. Follow our 6 tips for finding the perfect photo or video for your project to help you find more great stock images like these, all year round. View the full article

Cyber Monday and the week of deals it brings might be drawing to a close now, but we've still got you a great daily deal on some top-notch tech training. Has it been bugging you that you’re missing that one additional skill that might take your work to the next level? With access to Stone River eLearning, you'll be able to work through a library of always-growing online courses and learn any new skill that you can imagine. Get a lifetime subscription for just $85 (approx. £64). There’s no shortage of knowledge that you can gather from Stone River eLearning. With over 140 courses and 2,000 hours of educational videos – and new courses are added all the time – you can get a lifetime’s worth of knowledge from this great base for tech learning. Pick up instruction that you can apply to your job or use to pursue in your own time, from coding and design to 3D animation and more. Plus, you'll get unlimited ebooks and certification exams that will help you prove your skills. You can get lifetime access to Stone River eLearning's online courses for just $85 (approx. £64). That’s a massive saving of 99% off the retail price. Learn anything you’d like by grabbing this deal today. About Creative Bloq deals This great deal comes courtesy of the Creative Bloq Deals store – a creative marketplace that's dedicated to ensuring you save money on the items that improve your design life. We all like a special offer or two, particularly with creative tools and design assets often being eye-wateringly expensive. That's why the Creative Bloq Deals store is committed to bringing you useful deals, freebies and giveaways on design assets (logos, templates, icons, fonts, vectors and more), tutorials, e-learning, inspirational items, hardware and more. Every day of the working week we feature a new offer, freebie or contest – if you miss one, you can easily find past deals posts on the Deals Staff author page or Offer tag page. Plus, you can get in touch with any feedback at: deals@creativebloq.com Check out these great articles: The ultimate Christmas gift guide for freelancers 9 tools to make graphic design easier in 2018 14 free resources to improve your illustration skills View the full article

Music streaming service Spotify is wrapping up 2017 with a witty advertising campaign that uses people's unusual listening habits to create potential 2018 goals. This isn't the first time Spotify has run a funny data-driven campaign. Back in 2016 it took user information and created the brilliant "Thanks 2016, it's been weird" ads in response to the year's events. Unlike last year's campaign, which was all about reflecting on the madness of 2016 and delivering some well-earned gallows humour, this series of ads decides that 2017 has been bleak enough and doesn't deserve to be remembered. We realised there was a lot of fatigue and exhaustion with all the events in 2017 Seth Farbman, Spotify CMO Instead, Spotify is looking ahead to 2018 with posters and billboard ads that use curious playlists and listening choices to create 'goals' for the next 12 months. These include goals such as "Eat vegan brisket with the person who made a playlist called 'Leftist Elitist Snowflake BBQ" and "Be significantly less proficient at goodbyes", which is based on impressive streaming data for the song (you guessed it) Too Good At Goodbyes. Scroll through the gallery below from left to right to see some of the funny Spotify billboards. Speaking to Creativity, Spotify's CMO Seth Farbman says: "When we started to look at this year's data and what the news was every day we realised there was a lot of fatigue and exhaustion with all the events in 2017. So rather than go back and relive that exhaustion, we thought we would look forward and bring in a spirit of hope and optimism." The campaign was created by Spotify's in-house agency and will run in seven US cities, namely: New York, Los Angeles, Chicago, Dallas, Miami, Nashville, and Washington DC. Location-specific ads will also appear in 18 different areas around the world. While this is another great example of how companies can turn dry data into engaging advertising with a personality, we can't help but wonder how surreal it must be to see your listening habits blown up into huge posters and stuck up around town for all to see. Either users are going to become a lot more wary with their playlist names or – and we imagine this is the more likely scenario – they're going to embrace Spotify's cheekiness and come up with hilarious titles that are just begging to be turned into posters. We can't wait to see what music fans and Spotify come up with for the 2018 campaign. Related articles: 100 brilliant print adverts When to use humour in branding 5 ways to use imagery to create better branding View the full article

Discover new ways to work with colour and light in your art with ImagineFX issue 156 – on sale now. Inside the latest issue, our cover feature artist Maria Poliakova shares how she paints with vibrant colours to create decorative illustrations. Her tutorial explores how to stop your illustrations from looking flat, as well as taking a look at when to deploy shadows for maximum impact. It's sure to help give your illustrations a touch of vibrancy. Buy issue 156 of ImagineFX here Elsewhere in issue 156, we look at how artists in the games industry have been aided by Autodesk's SketchBook tools. There's also an interview with Canadian fantasy artist Jason Rainville, and reviews of the latest art books and tools that you can't afford to miss. To get a taste of what to expect, just take a look at our lead features below. Never miss an issue: Subscribe to ImagineFX here Christmas offer: Save up to 47% on a subscription to ImagineFX How to give art criticism Learn the art of diplomacy with this art critique feature Last issue we looked at how artists should take art criticism, but this issue we're turning the tables and looking how you should deliver feedback. We talk to industry experts to discover how they tackle this tricky topic without hurting anybody's feelings. Sketchbook insights Whimsical ideas get warped in this wonderfully surreal art Few things are more tantalising for an artist than taking a peek into the sketchbooks of other creatives. This month we look inside the sketchbook of Lorena Lammer, who mixes fantasy themes with a dark undercurrent. The results are beautifully surreal artworks that are sure to excite your imagination. Create art in Procreate Look out for that poison apple! Procreate has quickly become one of the most-loved painting apps for the iPad Pro – and it's not just due to its attractive price tag. Illustrator Chrissie Zullo is a huge fan of the app, and here she reveals how to create an iconic fairy tale moment with the popular tool. Dragon painting techniques 'Ere be dragons! Dragons are a mainstay of fantasy illustration, so it's important that you know how to paint them. To show you how it's done, illustrator Alex Stone shares his dragon painting techniques. These include tips on how to communicate character, as well as advice on how to use observations of real animals as inspiration. Line art workshop Learn how this fiendish line work was created Single colour line art has unique qualities that can capture an artist's imagination. Line art illustrator MRHASS reveals how he creates amazing line art in this workshop, and shares advice on how to keep your inking interesting and spontaneous. ImagineFX is the world's best-selling magazine for digital artists – packed with workshops and interviews with fantasy and sci-fi artists, plus must-have kit reviews. Buy issue 156 here or subscribe to ImagineFX here. Special Christmas offer: Save up to 47% on a subscription to ImagineFX for you or a friend for Christmas. It's a limited offer, so move quickly... Related articles: How to blend coloured pencils How to mix shadow colour in paint 19 best iPad art apps for painting and sketching View the full article

We all get used to the tools in our kit, and quickly know them inside out. But with innovations coming thick and fast from the major players and startups in design software, it’s worth out trying some new tools. Because once you get past the initial learning curve, you could end up saving yourself considerable time and frustration. Here we bring you some of the biggest new tools to hit the market in recent months, and explain why they might be able to supercharge your workflow in 2018. 01. Photoshop Lightroom CC Lightroom CC isn’t an update; it’s a brand new app Released this October, Lightroom CC is not, as you might expect, an update to Adobe’s long-running image editor and organiser, just moved to the Creative Cloud model. It’s an entirely new app. Just to make that clear, the original version of Lightroom is still available, and has been retitled Lightroom Classic CC. Rather, Lightroom CC is a next generation tool that harnesses the AI power of Adobe’s Project Sensei. Most notably, that means it automatically tags photos with searchable keywords to save you having to do it manually (or, as we’ve all experienced, forgetting to tag them altogether). The tool also comes with scalable storage options for everything including raw files; built-in social sharing tools and Adobe Portfolio integration; and support for mobile on iOS and Android. Unlike its predecessor, it’s not a one-off purchase but is only available through the Creative Cloud. 02. Photoshop CC’s Curvature Pen tool This cool new tool makes drawing curved lines easier If you have a Creative Cloud subscription, also since October a cool new tool has been available to you to make drawing curved lines in Photoshop CC easier. As an alternative to drawing and modifying paths using Bezier curves, the Curvature Pen tool allows you to simply click to add points, and it will automatically create curves between them. Then simply push and pull segments of the curve to modify it. You’ll find it under the Pen tool in the Tools panel. 03. Illustrator CC's Puppet Warp tool Play around with your designs using Illustrator’s new Puppet Warp tool There’s been a Puppet Warp tool in Photoshop since CS5. And in October, Adobe finally add a vector version of the tool to Illustrator CC. Puppet Warp lets you plant pins on different parts of your design and then twist, warp and distort them by pulling the pins around. Importantly, the effect is only applied in the area you select, while leaving other parts unaffected. You’ll find it under the Free Transform tool in the Tools panel. 04. Cineware for Illustrator Combine 2D and 3D assets using this new plugin from Maxon There’s a new way to incorporate 3D assets into Adobe Illustrator: using a free plugin for Mac and Windows from Maxon, the makers of Cinema 4D. This enables you to combine 2D graphics and 3D scenes in a similar (but different) way to Adobe’s own Dimension CC (previously known as Project Felix). Interestingly, you can use the tool to import and edit Cinema 4D assets, even if you don’t have a Cinema 4D licence yourself. 05. InVision Studio InVision Studio is challenging the likes of Photoshop and Sketch Until recently, things were quite simple. InVision was a prototyping tool, generally used in conjunction with tools for creating static images such as Photoshop. Then came XD, Adobe’s own prototyping tool, which was designed to work seamlessly with the Creative Cloud apps. Now, in response, InVision is gunning for users of Photoshop (and Illustrator, and Affinity Designer and Sketch) with the planned launch in January 2018 of InVision Studio. As the name suggests, InVision Studio is a full graphics package, built with the typical workflow of a modern designer in mind. So not only will you no longer have to edit your static images within a separate tool, the new tool offers an easy way to share your assets with other designers within the InVision Cloud and responsive design is baked in. Studio will also have its own assets store and app store. You can request early access from InVision here. 06. Lightwell Lightwell lets you combine your 2D designs to create simple apps While many tools allow you to prototype apps without knowing any code, Lightwell actually lets you create mobile apps themselves. Available for iPhone, iPad and OS X, this clever tool lets you upload your 2D designs and turn them into interactive storytelling apps. Aimed at designers, artists, students and creative agencies, Lightwell is the product of Hullabalu, a company that previously made a name for itself creating interactive apps for kids. Offering a potential quick and easy way to bring media and stories to life, Lightwell is currently free on the Apple Store and will reach the Google Play store in 2018. 07. Wake (free version) A new free version of Wake aims to help freelancers and small teams communicate and collaborate more efficiently A collaboration and communication tool for designers, Wake has been around for a couple of years now. But what is new is that this summer, its makers released a free version for freelancers and small startups. Originally created by Facebook product designer Chris Kalani and available for iOS and OS X, Wake is being used by the likes of Airbnb, Microsoft, IBM and Spotify. Features include the ability to share work directly from Sketch, Photoshop or Illustrator with a handy keyboard shortcut; to find what you're looking for by searching for people, tags, file types and dates; and to stay up to date while you’re out of the office via your iPhone. 08. Photoshop CC's Select Subject As we reported when it was revealed just the other day, Adobe's new AI-powered tool promises to help you select the main subject or subjects in an image in one click. Powered by Adobe Sensei, the video demonstration above suggests that Select Subject could save creatives a long time when cutting out subjects to move onto a new background. Not solely dependent on machine learning, the tool also lets you refine the mask edge easily in the Select and Mask workspace. Select Subject is said to be coming to Photoshop in an update, which we hope will be pretty soon. 09. Easle Could Easle help you get your dream design gig? This last entry on our list might not help you complete your design work, but it might help you get it in the first place. Easle is a website that’s been launched by industry leaders to help freelance creatives get hired by big brands, without needing to pay fees to an agent. Illustrators and graphic designers can apply directly on the site, and are vetted and curated by a team of experts. With more than 200 clients including Ogilvy, Penguin and Netflix, it’s clearly doing something right. Liked this? Read these: 14 free resources to improve your illustration skills 8 great graphic design portfolio sites for 2018 5 free apps that can boost your creativity View the full article

A Cisco Systems security advisory is urges users of its WebEx platform to patch six vulnerabilities that could allow attackers to execute remote code. View the full article

You're reading Adobe Teases New AI Powered Select Subject Tool in Photoshop, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! The holidays are coming. It’s the perfect time for an escape. Swiss Alps, Iceland or Melbourne are on my top priority list, but, because I’ll probably spend my vacation working, I’ll settle up with Photoshop’s new AI feature that promises to make photoshoping vacations way much easier. Select Subject by Sensei While there are quite […] View the full article