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Today sees Wacom add two exciting new drawing tablets to its successful Wacom Cintiq Pro line of graphics tools: the Wacom Cintiq Pro 24 and the Wacom Cintiq Pro 32. Designed to help digital artists take their work to the next level, the latest releases deliver a cutting-edge and easy-to-use design experience that also caters for augmented and virtual reality. First up is the Wacom Cintiq Pro Engine and Cintiq Pro Displays. With the Wacom Cintiq Pro Engine, digital artists can convert their Cintiq Pro into a powerful creative studio. This is thanks to a creative PC module available in two configurations that transform a Cintiq Pro into a Windows 10 workstation. With these modules, artists and designers can run demanding creative applications and workflows, including systems for 3D work, animation, and virtual reality projects. By simply slotting the modular Cintiq engines into the back of the Cintiq Pro 24, designers instantly get computing power without the space issues and clutter that usually come with desktop devices. “It is our mission to help professionals create with the least amount of distraction and clutter and to give them the power to tackle the new spaces of creating content for AR, VR and MR," says Faik Karaoglu, Executive Vice President of the Creative Business Unit at Wacom. "The Wacom Cintiq Pro Engine provides a beautiful, easy to use solution for creatives everywhere." Priced at £2,399.99 and £3,419.99, the two versions will be available from May 2018. Watch the Cintiq Pro Engine in action below and see how it combines with the Wacom Cintiq Pro display to create a flexible creative module. The other latest innovation from Wacom is the Cintiq Pro 24-inch pen display. This new high performance display is also built for cutting-edge creative and design applications, including augmented and virtual reality. Tailored towards creative professionals after a larger digital canvas, this display packs the power to deal with an onslaught of creative applications and programs. This includes a 4k display, 98% Adobe RGB colour accuracy and a library of a billion colours to deliver a true-to-life visual experience. An improved pen experience tops off the release thanks to the new Pro Pen 2 technology that delivers a whopping 8, 192 levels of pressure sensitivity. Artists will also be able to experience a more natural feeling pen on screen experience thanks to etched glass surfaces, a reduction in parallax through optical scrolling, plus close to zero latency. “We know that professional artists and designers are facing an increasingly vast array of computing and display demands as they embrace emerging technologies like augmented and virtual reality, and 3D, where one size doesn’t fit all,” says Karaoglu. “Everyone has their own way of working, and we are excited to offer larger sized digital canvases with flexibility that provides more pen space for those who need it to create.” With prices ranging from £1,899.99 to £2,399.99, the Cintiq Pro 24 pen display models are available in the U.S., Japan and selected European countries as of March 2018. The Pen & Touch version of Cintiq Pro 24 will be available in May 2018. For full product details on all the latest releases, visit the Wacom site. Related articles: 8 inspiring digital art portfolios and why they work The best Wacom tablet deals for February 2018 Review: Wacom MobileStudio Pro View the full article

In a move that has baffled and annoyed artists, #1 New York Times bestselling author Terry Goodkind took to Facebook recently to insult the cover art of his latest book, Shroud of Eternity (above). Is it time for designers to leave Twitter? As well as describing the illustration by Bastien Lecouffe-Deharme as 'laughably bad' in a candid Facebook post, Goodkind invited his followers to share their opinions of the artwork by voting in a poll. Entrants could choose between 'laughably bad' or 'excellent', with a signed copies of the book up for grabs. It's a puzzling and unprofessional move that has provoked a huge backlash on Facebook and beyond. Fellow illustrators have come to the defence of Lecouffe-Deharme, with many pointing out that the artist would have been working to a brief so the problem really lies with the publisher. Goodkind's post did numbers. Bad numbers Speaking on the Facebook post's comments section, which has become particularly heated over the weekend, Lecouffe-Deharme said: “It was nice working with you Terry. What you are doing is totally disrespectful. As if I didn’t create those covers accorded to exactly what I was told to do. In my entire career I have never seen an author behaving like that.” As is the case with online missteps, we're now going through the motions of public apologies and an explanation of what the original statement really meant. In a follow-up status Goodkind clarified his attack by saying: "The contest and poll below, is poking fun at my own book. The artist is obviously an exceptionally talented creative. The problem is with the publisher. I created the poll as a way to poke fun at the cover art, because it is a poor representation of characters within the book." He goes on to add "In no way do I feel the quality of the art is rendered poorly. For any misunderstanding, I apologize to the artist, his friends, and of course my own community here." Whether or not you buy this explanation probably depends on how you feel about Goodkind's decision to leave the original post and poll live on his Facebook page. In his defence, Goodkind says that he needs to follow-through with his promise of awarding signed copies of the book. Related articles: How to design a contemporary book cover How to design the perfect book cover How to design a book cover in InDesign View the full article

Design trends are in constant flux, and can be as influenced by social, political and environmental factors as they are by the rest of the creative world. Thanks to exclusive research from Getty Images and iStock by Getty Images, we can bring you three particularly fascinating visual trends that are very much of-the-moment this year, complete with reference boards packed with inspirational images These trends are based on detailed analysis of over a billion searches and 400 million imagery downloads on the Getty Images website, as well as careful study of advertising trends and pop culture shifts by the experts at Getty. Read on to discover the three visual trends you should know about in 2018... Conceptual Realism A combination of evolving long-term visual trends, new technology, and the public's current scepticism to take things at face value has spawned a new visual expression: Conceptual Realism. Given the widespread desire for authenticity, consumers increasingly want imagery that's grounded in something real and accessible. Aspirational, polished luxury no longer resonates: consumers want honest imperfections and DIY aesthetics. As a result, imagery that looks 'real' rather than fantastical is gaining traction, even if the idea behind it is surreal and conceptual. People are de-personalised and become props, rather than emotional characters in their own right. It's a fascinating visual interplay between authentic storytelling and artistic expression, that feels non-contrived while maintaining a sense of playfulness. Second Renaissance Design trends often move in cycles, and major art movements from the past can still have a strong influence on the creative practice of the future. This desire to repurpose and re-appropriate art history is the driving factor behind Getty's second visual trend, entitled Second Renaissance. At the core of this trend are quiet, contemplative images informed by art history, which celebrate creative craftsmanship in an age where entry-level photography is more accessible than ever before. By knowingly referencing the aesthetic of well-respected historical artworks, photographers find gravitas and credibility, while challenging stereotypes and reclaiming ownership of well-trodden stories, re-picturing icons in a more diverse, multicultural and modern context. Masculinity Undone In the aftermath of the Weinstein scandal and ensuing #MeToo campaign, conversations about 'toxic masculinity' have dominated the press - and creatives are exploring new visual directions to challenge long-established male stereotypes. In the Masculinity Undone trend, imagery explores less prescriptive, more open visions of masculinity in an attempt to put a fresh twist on what it means to be male in 2018. In a major step forward, the UK's Advertising Standards Authority has banned ads that perpetuate gender stereotypes, including men "trying and failing" to conduct "simple parental or household tasks." Part of the driving factor behind Masculinity Undone is a desire for a more complex, gentle and emotionally nuanced portrayal. Creatives have an opportunity to discard dull and destructive male stereotypes - such as 'tough guy', 'rebel', 'buffoon', 'hero' and 'athlete' - in favour of authentic, empathetic storytelling, making room for vulnerability and diversity. These images portray the softer, more sensitive and emotional side of men, manifested in various ways - a single dad caring for his baby; a tender embrace between same-sex partners; or a man exploring his feminine side. You can explore images from each of the trends, Conceptual Realism, Second Renaissance and Masculinity Undone, or start your own search at iStockphoto.com. Plus, for a limited time, new customers can save 12% on any product with code 12CBLOQNEW. View the full article

Many creatives who go freelance want to build a business that affords them the freedom to choose who they work with and how much they charge. But a recurring topic of conversation with freelancers revolves around the anxiety they have about asking clients for more money. Figuring out how much to charge can be stressful. On the one hand, approaching clients and asking for more money than they’re used to paying can sour much-needed relationships. On the other hand, if you never increase what you charge, the real value of your income will decrease over time, your income won’t reflect your experience, and, you’ll make less money than you should for your time and skills. Although it can be stomach-churning, raising prices is simply part of the freelance life. You have to get used to asking for what you’re worth. Here are some tips to help you work out how to raise your prices. Don't go overboard If your aim is to keep current clients, it doesn’t make sense to increase your prices by a large amount all at once. If you haven’t raised prices for five years, you might feel justified in putting up your rates by 200%, but most of your clients won’t feel the same way. Presumably, your clients trust you and feel that your services are valuable. Switching to another freelancer is likely to cost them time and money. They’re incentivised to stay with you, and gradual year-over-year increases won’t change that. But if you increase prices too rapidly, their reluctance to find someone new might be overcome by the increased cost. So, freelancer creatives should increase prices gradually – with small price increases every year. You're not obliged to be consistent You don’t have to charge all clients the same hourly rate. If you think a crucial client will bridle at a price increase, you might consider keeping your prices the same for them, and increasing what you charge new clients. Over time, your client roster will change as you gain new clients and lose old clients, and eventually the pricing will be consistent. Whether this is a reasonable approach depends on the exact jobs that you do, of course. If a large proportion of your income depends on a single client, you’re in a poor negotiating position for more than just the cost of your services. In this position, the best approach is to diversify your client roster so you aren’t so dependent on the goodwill of one client. Sometimes, losing clients isn't so bad There are two circumstances in which losing clients is a good thing: If you’re in this fortunate position, raising prices will force your least valuable clients to look elsewhere, leaving you with high-value clients who don’t mind paying extra, and opening up space to take on more high-value clients. If your aim is to drop low-value clients, strategically increasing prices can help your business to move upmarket. Most importantly, you should understand that your services are valuable: don’t be afraid to ask for the money you deserve. Related articles: How to manage your freelance cashflow 8 tools to help you work remotely as a freelancer 4 ways to cash in as a freelancer View the full article

It's easier than ever to implement beautiful typography online, but it's still helpful to have a few pointers along the way to prevent yourself from unleashing an ugly user experience packed with clashing retro fonts in random point sizes. So make sure you bookmark this selection of essential web type resources, covering everything from the fundamentals of typography through to advanced techniques. They'll help you create amazing websites without any typographic fails. 01. Glossary of typographic terms Get your type terminology right here FontShop has assembled tons of concise definitions (and visuals) for every typographic term that you can imagine. When you're confused by an option in the Typography panel, here's where to find your answer. 02. Unicode character table (with HTML) Need a unicode value? Find it here When you're searching for any character's unicode value – or its corresponding HTML entity – this is your one-stop shop. Inserting these special characters via CSS content is also possible; see number 10 in this list. 03. Caring about OpenType features This article explains how to unleash all those fancy font features Looking to implement these fancy font features on your website? This article covers exactly how to use the various CSS properties that enable the features, and details when to use them appropriately. These are an easy progressive enhancement for any website, and browser support has become quite good. 04. Professional Web Typography Here's a great and comprehensive guide to web type This free online book (although you should donate if you find it useful) by Donny Truong covers the fundamentals of web typography, starting with a brief history of type on the web and moving on to the use of web fonts, creating headings, animating type and much more. 05. Glossary of typographic terms Found a term you don't understand? Look here Typography is full of specific and confusing terms. In this article, we've pulled together a glossary of words and phrases you might come across, and explained what each one means. Do you know your descender from your diacritic? No? Look here. 06. Typoguide 8 big typographic issues are tackled in this useful one-pager A great bite-size guide to a number of typographic issue, Benedikt Lehnert's Typoguide is a fab one-page resource covering subjects such as font size and line height, apostrophes, quotes and dashes, and the age-old question of whether it's a font or a typeface. 07. Fontology Fonts.com's Fontology is a deep well of typographic knowledge It's all too easy to fall down the Fontology rabbit hole; it's an in-depth typographic curriculum from Fonts.com that's divided into four levels, each with three or more modules consisting of several sections, covering a wealth of typographic information and guidance. Read more: 63 best free fonts for designers 5 typography trends for 2018 9 responsive typography tips View the full article

Before starting your drawing it's important to decide what type of movement you want to capture. Try to keep it simple and dynamic, rather than having a composition with lots of different angles and directions, which can be busy on the eye. Once you've decided on the main movement for your composition you can then start figuring out how to draw this movement. You can then flesh out the illustration and add smaller, more local areas of movement if it adds to and supports the main movement. I prefer to keep the angles and direction of movement to a minimum, which means I can then exaggerate it to make the image as dynamic as possible. How to draw a knockout action scene It's also important to not only think about the movement of the character or object, but also how that movement might affect the surroundings. This will help your image to feel more 'real'. 01. Sketch ideas Your initial sketch needs to look natural but also dynamic Sketch out different ideas for angles and movements to see which one will give you the most exciting composition. You want to find a balance between a natural-looking pose, but also an exaggerated one to make it as dynamic as possible. 02. Flesh out the subject Think about how things like clothing might be affected by movment Once you've got your pose and angle of movement, flesh out your character or object. Think about how the surroundings will be affected by the movement. Here, the character's clothing needs to reflect the chosen angle of movement. 03. Create lines of movement Extend colours and details to give a sense of speed To really exaggerate the movement, I like to extend some of the colours and details to create lines of movement. This gives a real sense of speed and direction of travel, which all adds to the movement that we're trying to capture. This article was originally published in issue 155 of ImagineFX, the world's best-selling magazine for digital artists. Buy issue 155 or subscribe. Related articles: How to create manga-style hair in motion Become an award-winning illustrator: 6 top tips How to show motion in a line drawing View the full article

When you first launch a website, it can feel like it's lost in the sea of the internet. SEOPop has the tools you need to make sure your site gets seen by the people who are looking for it. Get this powerful search engine optimisation tool on sale now for 93% off the retail price! The top three results on Google get 60% of all search engine traffic. That's why it's so vital to push your website to the top of the page. Luckily, SEOPop can make that happen. This powerful tool analyses your website and produces an SEO report card that grades the site based on a number of factors that Google looks at. SEOPop automates the process of optimising your site so you can quickly give it the tweaks it needs to appear right at the top in all relevant search results. A lifetime subscription to SEOPop usually retails for $149.99, but you can get it on sale for 93% off the retail price. That means you'll pay just $9.99 (approx. £7) for this essential tool that will pay for itself with the results it provides, so grab this deal today! About Creative Bloq deals This great deal comes courtesy of the Creative Bloq Deals store – a creative marketplace that's dedicated to ensuring you save money on the items that improve your design life. We all like a special offer or two, particularly with creative tools and design assets often being eye-wateringly expensive. That's why the Creative Bloq Deals store is committed to bringing you useful deals, freebies and giveaways on design assets (logos, templates, icons, fonts, vectors and more), tutorials, e-learning, inspirational items, hardware and more. Every day of the working week we feature a new offer, freebie or contest – if you miss one, you can easily find past deals posts on the Deals Staff author page or Offer tag page. Plus, you can get in touch with any feedback at:deals@creativebloq.com. Related articles: 5 top tools to master SEO 30 best SEO tools 7 essential SEO tips for developers View the full article

So you've just graduated and you're out looking for that first design job; how do you shift the odds in your favour? There are more graduates out there than vacancies, so a killer design portfolio isn't always enough. You need to do everything you can to make prospective employers take notice of you and, more importantly, want to have you around. Follow these tips for getting that all-important foot in the door, then read on for advice on how you can start charting a course to that creative director role. 01. Be curious "You need to be curious to be a good designer," says Ben Jory of Jory & Co. "You should be asking loads of questions and be confident in doing that." Of course, this can be daunting. "When you're starting out and you work with people who've been doing it for years, you don't want to risk looking like an idiot. But you need to be able to ask questions without being afraid of the answer." 02. Listen up Pay attention. Don't just ask questions – make sure you listen to the answers, because there's always something to learn from the people around you. Not sure you're attentive enough? When people speak to you, try focusing on what they're saying instead of planning how to reply. 03. Show willing Always give your all, regardless of how thrilling or high-profile the work is (or isn't). "You may not be excited by the brief," says Kristen Streten of Design Culture. "Or it may be something small that needs to be done as part of a bigger picture. However, you don't know what else you might be given as a result." 04. Collaborate Be collaborative, not precious or possessive. "That's incredibly important because it's all about having a team and everyone working together," says Jory. "Two people's ideas are always going to be better than just one." Share ideas and let them belong to the whole team, he says. "Then everyone gets to take ownership and feel proud." 05. Be personable Employers don't just hire on the basis of your portfolio – they want to know that you'll be pleasant to have around in the studio and you'll be a good team player. This means taking the right things seriously. "It's important that you take our client list seriously," points out Jory, as an example. "But you shouldn't take yourself too seriously," he continues. 06. Learn basic coding If you want to progress in your role, coding could be just the ticket. It's becoming increasingly important to have some grasp of coding, such as HTML, CSS, JavaScript and jQuery. "We want all-rounders who are interested in the digital side," says Ben Jory. If your background is solely in print design, and it's between you and another candidate who has these skills, they're almost certainly going to beat you to the position. There are heaps of good quality online coding courses available to help you learn, and most of them offer some of their content for free. 07. Get confident at public speaking Did your stomach just contract when you read that? Public speaking isn't a piece of cake for everyone, but you do need to master it. It's not feasible to just never present a client pitch or speak out loud in meetings – and the truth is that, in reality, doing these things isn't half as bad as you imagine. Try making eye contact with someone at the back of the room – it makes your voice rise to the right volume. For further tips, visit this BBC article. 08. Broaden your interests In 79 Short Essays About Design, Michael Bierut points out that design is "almost always about something else". The more things that interest you, he says, the better your work. And the broader your horizons, the fresher your ideas will be. So don't immerse yourself in design and designers, and forget there's a whole world out there. This article originally appeared in Computer Arts issue 255; buy it here. Read more: 6 inspiring redesigns of design agency portfolios The art of going freelance How to become an art director View the full article

In the past, web designers put a particular focus on showing off their skills and design portfolios by packing sites with flashy illustrations and animations that supposedly wowed their visitors. Then came a shift toward skeuomorphic design, which attempted to bring real life to the screen, with faux-realistic textures, drop-shadows and real object characteristics. That gave way to flat design, which opposed all of these 'artificial' design techniques in favour of a more simplified, classically digital aesthetic. And while this user-centric web design style has been around for many years now, is still as relevant and popular as ever. So if you're still not sure what it's all about this guide might be just what you need... What is flat design? Windows 8 was at the forefront of the flat design trend Flat design is a minimalistic design approach that emphasises usability. It features clean, open space, crisp edges, bright colours and two-dimensional illustrations. Microsoft was one of the first to apply this design style to its interface, seen by some as a backlash against the popular skeuomorphic design that Apple kicked off with its iOS interface. Instead of converting a real-life object, such as a calendar, into a tiny realistic illustration, advocates of flat design identify apps with simple, icon-like images. Rather than bringing aspects of real life to an interface, this illustrates a clear separation between technology and tactile objects. Minimalist doesn't mean boring In flat design, ornamental elements are viewed as unnecessary clutter. If an aspect serves no functional purpose, it's a distraction from user experience. This is the reason for the minimalistic nature of flat design. However, just because it lacks any flashy design doesn't mean this style is boring. Bright, contrasting colours make illustrations and buttons pop from backgrounds, easily grab attention, and guide the user's eye. The purpose of minimalistic imagery also contributes to flat design's functional character. Quick to grasp Simple images convey messages more quickly than detailed illustrations. Images like icons can indicate universal actions or purposes so that everyone can easily understand them. It's easy to see an immediate difference between a skeuomorphic and a flat design. Notice how the bigger, solid colour blocks are more attention-grabbing and the meaning of the icons can quickly be perceived. Xero's guide to cloud computing uses flat design to make its message easy to follow This cloud computing guide (above) from online accounting service Xero uses a combination of flat illustration and iconography to demonstrate different benefits of working with the cloud. The simplicity of the imagery makes it easy to understand the message, which takes away any need for excessive copy. What you can learn from it Flat design reverts back to the basics of design as a functional tool. A website is designed and judged by how well it works, as opposed to what it looks like. This raw functionality forces a site's focus to be on user experience, so websites that employ this design style successfully are likely to receive positive feedback as being user-friendly. How to do it To design an effective flat site, all design elements must be centred on this idea of simplicity. Solid, vivid colours give aspects the emphasis needed to set them apart in place of illustrative detail; sans-serif typography provides a clean, crisp supplement to illustrations; text is concise and to-the-point; UI elements like buttons and links are clear and noticeable. Everything should be designed with the same goal in mind to create a cohesive visual and functional web design. Below are some great examples of flat design... Tripfinder Colours and icons help make meaning clear with minimal copy This trip planning app design by Indonesian user interface designer Bady makes it extremely easy to book a flight based on packages and budgets. Everything is clear and understandable, and the design relies mostly on colours and icons to give meaning. The copy is concise, and the UI aspect of searching for an ideal flight is obvious. Weather app Flat design doesn't depend on bright colour This weather app UI design shows that flat design can be successful even without the use of bright colour. The crisp iconography and large typography draw attention to the most important aspects of the weather, which is what the user is looking for. When exploring flat design in your work, make sure to design every aspect with a minimalistic and user-centric perspective to ensure a unified interface. Once you've successfully done this, your users will appreciate the functional nature of your website. Related articles: Get the best free vector art for your projects What does an art director actually do? Check out this collection of top Photoshop tutorials View the full article

Product design graduate Renata Souza has developed a child-friendly insulin kit for children with Type-1 diabetes. Showcased at Cape Town’s Design Indaba 2018, Thomy is a cheerful, portable kit for kids aged four and over. Inside the kit is an insulin pen that’s been ergonomically designed for a child's hand, and a set of playful, non-toxic temporary tattoos that help children remember where they’ve already injected insulin. According to statistics portal Statista, there were 596,000 children with diabetes worldwide in 2017, with 96,000 diagnosed that year. Thomy adds a bit of fun to the process of managing a difficult condition. The idea for Thomy came about when Souza’s six-year-old nephew Thomás was diagnosed with Type-1 diabetes. “Living with this condition involves altering daily habits, like monitoring glucose levels, injecting insulin, and supervising diet and exercise,” explains Souza. “After observing Thomás’ routine, I realised how tedious the process of injecting insulin into the body is. It’s hard for him to use a regular insulin pen because of his little hands, and it’s easy for him to forget where he last injected insulin.” Adding fun Thomy helps diabetic children have fun while managing their process. Here’s how it works: the temporary tattoos provide a visual indication of where a child has previously injected. The black ink remains on the skin, while a coloured dot is removed with an alcohol pad before each injection – ensuring that the area is disinfected. “After a couple of days, the tattoo will no longer have colour, indicating it’s time to choose another design and rotate to another injection site,” says Souza. This is important, because Souza’s research showed that the injection site must be alternated to avoid lumps of fat developing. Meanwhile, the insulin pen is designed to fit in a child’s hand, and help reduce anxiety associated with needles. It’s fun, and versatile – it can be held in different ways – and, uniquely, the release dial is covered in thermochromic plastic, so it changes colour with temperature. This helps encourage children to keep it in until the full dose has been administered. Souza knew she had achieved her goal when she received a photo of one of Thomás’ brothers – who isn't diabetic – wearing the tattoos too. “Despite the fact that early-age diabetes diagnoses are increasing, there are rarely any diabetic products designed specifically for children,” explains Souza. “Being diagnosed with diabetes forces a child to grow up. They have to learn to inject themselves, cope with a fear of needles, and add and subtract points to figure out what to eat. Not to mention they must forego candy. Thomy gives diabetic children something to look forward to when taking care of their condition.” The project, which was undertaken as part of Souza’s studies at Parsons School of Design, was a national finalist in the James Dyson Award 2017. Read more of our Design Indaba 2018 coverage. Related articles: Be a better designer in 2018 Design Indaba 2018: Building outspoken landscape 3 design projects that just changed the world View the full article

Drupal has patched several vulnerabilities – both moderately critical and critical – in two versions of its content management system platform. View the full article

A web designer's career is rarely predictable. From user experience to information architecture, there are new specialisms popping up all the time. If the lack of defined career path is frightening you, don't worry. There are plenty of people from all areas of the web industry willing to share their knowledge and advice to help you build your perfect web career . Here are five essential articles and books to read, whatever professional stage you're at. 01. The missing advice I needed when starting my career Paul Boag has been working on the web for over two decades. In this article, he explains the career advice that he would give to a younger version of himself if he had a time machine. This article focuses on the career advice for web design pros of all kinds, including 'don't put up with a terrible boss' and 'get better at working with others'. 02. Finding opportunities in the mistakes we make You flung yourself headlong into your career, and suddenly you’re not even sure where you’re going. In an industry with so many possibilities and choices, chances are you're going to take a wrong turn at one point or another. In this A List Apart post, Clarice Bouwer offers advice for how to turn a mistake into an opportunity, and get your career back on track. 03. Non-creepy networking Celebrated designer Jessica Hische finds networking easy, but realises that many people struggle with it. But you don't want it to be your shyness (or fear of coming across as creepy) that holds you back in your career. In this excellent blogpost, Hische offers some practical tips for how to network effectively. 04. Questions you’ll be asked at a UX design interview You've networked like a pro, you've built up a great portfolio of work, and you've landed yourself an interview for your dream job in UX. So how to ace it? In this Medium article, Nick Babich outlines the most common UX interview questions, along with some tips and tricks on how to answer them. 05. Stop procrastinating and pursue your passion Want to start your own business? This ebook by Christopher Murphy offers practical ways to identify what really drives you, so you can transform it into satisfying and meaningful work. It's published in three tiers, so you only need to pay for the section you need for your situation. This article was originally published in issue 299 of net, the world's best-selling magazine for web designers and developers. Buy it here or subscribe. Read more: The art of going freelance 8 tips to ace tech job interviews How to land your first digital job View the full article

One of the best ways to keep your illustration skills up-to-date is through continuing education. Not too long ago, that meant attending an expensive, sometimes exclusive, art school. And while that's certainly still an option (there are even some great online art schools to consider, too), there are other ways that not only inspire and teach, but also won't break your wallet in the process. In this top 10 list for digital artists, I pull together some of my favourite sites for learning – and more importantly, keeping up with – how to draw and paint digitally. 01. Ctrl+Paint Price: From free There are plenty of free resources to enjoy on Ctrl+Paint Ctrl+Paint, which is operated by Matt Kohr, is a plain and simple online resource for digital artists. Kohr, who attended the Savannah College of Art and Design and majored in Comic Books, provides free and paid art school-style training. His free video library starts off with the 'foundation studies' of drawing and composition. Once you've got that down, you can move on to the digital tools. If you're looking for more in-depth topics, check out the CTRL+PAINT Store. 02. Paintable Price: $35/month Pick up digital painting tips in the time it takes to drink a cuppa David Belliveau, co-founder of Paintable, has been illustrating since he was a child. In 2011, he fell in love with digital drawing and painting. Since then, he's been teaching the community what he knows. Paintable offers a lot of quick, five-minute speed drawing and digital painting tip videos, but the real heart of the site is The Academy. When you join The Academy, you gain access to monthly live training, premium resources, and a supportive community. Not sure if you're ready to commit? Sign up for a 14-day trial for just $1. 03. Ram Studio Comics Price: From free Marzullo's tips can be used on any app Robert A. Marzullo, of Ram Studio Comics, is a professional storyboard and comicbook artist, and he's sharing what he knows on YouTube, Udemy, and Skillshare. Marzullo's tutorials often show how things are done in Photoshop and Clip Studio Paint, but the way in which he teaches means you can easily use whatever app you like best. You can even skip the app altogether, and go traditional. 04. CartoonSmart Price: From free Pick up illustration tips with this extensive library CartoonSmart has a huge library of free and paid content. Most of the courses are taught by Justin Dike, the founder of CartoonSmart, however, there are additional instructors as well. Primarily an Adobe shop teaching illustration and vector art, CartoonSmart has tutorials for Adobe Animate, Adobe Illustrator, and Adobe Photoshop. As an added bonus, Dike is also a developer and has a sweet collection of game design courses. If you want to find out more about Dike and CartoonSmart, you can listen to this interview. 05. Rayce Bird on Lynda.com Price: $25/month Explore rendering tips with these courses Rayce Bird is a creature creator, teacher, and season 2 winner of Face Off, a special effects competition/elimination series on SyFy. He also has six courses on Lynda.com that are well worth the price of admission. In his most recent one, Photoshop: Texturing and Shading Techniques, Rayce takes you from artboard setup to final rendering. Along the way, you'll explore colours and texture flats, value balance, and material shaders. 06. Ben Bishop on Lynda.com Price: $25/month These courses work well alone or blended together Since you're already going to sign up for Lynda.com because of Rayce, you might as well check out Ben Bishop while you're there, especially if you want to learn how to make graphic novels and comic books. Ben has six courses available, and although they're stand-alone courses, they seem to blend nicely together. For instance, you can watch Penciling a Comic Book Page first, and then head over to Photoshop: Coloring Comic Book Characters to round things out. 07. Sinix Design Price: Free The Sinix Design YouTube Channel has been up since 2006, and it's crazy knowing that I only found it recently. What I like about this channel is its variety. It has tutorials, reviews, inspirational videos, and something called Paintsploration? Well, whatever that is, it's cool, and it helps get you into the creative mindset. Of particular interest is the Self Portrait Video (above). 08. Adobe Photoshop CC Classroom in a Book Price: $35 Take an old-school approach to learning with these books Not too keen on video learning? No worries! The Adobe Photoshop CC Classroom in a Book is a great alternative. Stuffed with about 400 pages, you'll get 15 step-by-step, project-based lessons showing you how to do key things in Photoshop, like masking, working with brush presets and artboards. There's also online companion files that include everything you need to complete the projects. Plus, you get full access to the Web Edition, which includes enhanced videos and quizzes. You can also get a Classroom book for Illustrator and InDesign. 09. Fantasy Genesis Price: $22.99 Gamefication meets art in these innovative books OK! Here's the deal, I don't have this yet, but I did just order it, and I can't wait to try it out! Fantasy Genesis is a game-based idea generator. With three game variations, you'll be tossed into the dark corners of your mind, armed only with dice, word lists, and an opportunity to meld together some interesting fantasy creatures. 10. The Oatley Academy ArtCast Price: Free Plug in and unwind with this podcast When you're done watching videos, reading books, and playing games, come back here, fire up the drawing tablet, and put Chris Oatley's podcast on in the background while you create your next digital masterpiece. Chris Oatley is a former Disney Character Designer, and through his podcast and blog, he's ready to answer your questions about making a living from your imagination. Oatley's podcast offers insights and career advice for people in animation, games, illustration, comics, and children's books. Read more: : 95 pro tutorials and tips The best collage maker tools 15 observational drawing tips View the full article

Web developers are responsible for keeping the internet running. They work behind the scenes to make sure the gears keep turning for all of your favourite applications and sites. It's a career that rewards structure and creativity, and you can join their ranks by working your way through the Ultimate Front End Developer Bundle. It's on sale now for just $39 (approx. £28)! For any aspiring developer, the Ultimate Front End Developer Bundle is the ideal starting place for the start of your career. This collection of eight courses taught by experts can help anyone learn how to code using the most important languages in web development, from JavaScript to HTML5 and CSS3. Work your way through this bundle of courses and you'll pick up the skills you need to bring your dream designs to life and just may launch a new and lucrative career. You can get the Ultimate Front End Developer Bundle on sale for just $39 (approx. £28), 96% off the retail price. That’s a massive savings on a bundle that could help you find work in a growing industry, so grab this deal today! About Creative Bloq deals This great deal comes courtesy of the Creative Bloq Deals store – a creative marketplace that's dedicated to ensuring you save money on the items that improve your design life. We all like a special offer or two, particularly with creative tools and design assets often being eye-wateringly expensive. That's why the Creative Bloq Deals store is committed to bringing you useful deals, freebies and giveaways on design assets (logos, templates, icons, fonts, vectors and more), tutorials, e-learning, inspirational items, hardware and more. Every day of the working week we feature a new offer, freebie or contest – if you miss one, you can easily find past deals posts on the Deals Staff author page or Offer tag page. Plus, you can get in touch with any feedback at:deals@creativebloq.com. Related articles: 50 amazing tools for developers 2018 How to use Markdown in web development How to bridge the gap between design and development View the full article

I've been working from home for more than 10 years; it's not for everyone. Some people lack the necessary discipline to work from home; others simply have no idea how to go about doing it. To be honest, I had no idea how to do it either. There was much to learn and even more to get used to. A little bit of background: after the birth of my first child, I approached my employer and requested some flexibly with my schedule. Much to my surprise, they agreed. Initially, my time at the office, compared to my time at home, was split 25:75 (with the majority being office time). Gradually, that number flipped; eventually I stopped going to the office all together. And now I'm a self-employed creative professional. If I can do it, so can you! In this article, I'd like to share some tips as to how you can make a successful go at it. 01. Make a to-do list Item two: do everything on the list There's a whole industry centred around the business of getting stuff done, and you could easily end up spending a fortune on books, apps and other things that promise to help you be more productive, but really there's no need. If you want to ensure that you get things done, just make a to-do list each day, and cross everything off the to-do list once it's done. It's simple and effective. By writing a to-do list you're physically and mentally committing yourself to doing everything on it, and you're a lot more likely get everything done than you would be if you just kept mental checklist in your head. And the act of crossing everything off turns it into a game; you're basically setting yourself a challenge rather than planning the day's work. Try it! 02. Get some background noise Blasting load tunes can be counter-productive, but some background noise is a must If you're moving from a life in a busy office or studio to working from home, nothing can quite prepare you for how quiet things suddenly become. You might enjoy the peace at first, and relish the lack of inane chatter about last night's TV or the constant, grating coughing of that one colleague who's bravely soldiered into work when they really should have stayed home, but sooner or later the silence will get to you and become just as distracting. Keep yourself sane by making sure you have some noise going on in the background. Put the TV on in another room, or switch the radio on; not loud enough so that it becomes a distraction, just the right amount of volume to break up the silence. You probably won't even notice it after a while, but your brain will thank you for that little bit of background noise. 03. Create a workspace Make sure you have a space set up specifically for working One of the most frequently overlooked aspects of working from home is creating a workspace. As tempting as it may be to just set up on your living or kitchen table, it's absolutely imperative you create your own space for work. Otherwise, you'll find it's difficult to turn your workself off at the end of each day. When designing your workspace, it doesn't need to be fancy. Something comfortable, with a nice view, is great place to start. Oh, and a door! This is especially important if you live with others. 04. Set a schedule Decide when your work time is and stick to it Okay, admittedly I'm still working on this one. But if you can manage to keep a set schedule, that would be beneficial. People who work from home tend to do so at all hours of the day (and night!). While this may seem like a great way to increase your production/productivity, if you're not careful, you'll end up burning yourself out. Although I tend to work long hours, I try to keep them consistent. Top tip: the trick to keeping a set schedule is: when you're working, work. Schedule non-work things outside of the time you've designated as 'work time'. 05. Limit distractions There are all manner of tempting distractions when you're home alone; resist them! Hang on. I'll get to this one in a minute. I just want to check my phone, look at this website, read this book, etc, etc, and so fourth. With all of life's distractions, it's easy to find yourself doing something you didn't plan to do. Or worse… avoiding something you should be doing! Make sure you don't get caught in this trap. If you want to be a successful remote worker, this is an absolute must. Turn off the TV, turn off the phone, and keep your eye on the prize. 06. Take breaks Get away from the screen for a bit; you'll feel better for it Almost as important as limiting distractions is taking breaks (which, when you think about it, is the exact opposite). Not only will a few breaks throughout your day actually make you more productive, it's a great way to stay healthy too; you can also try some desk exercises to keep you limber while you're hunched over Photoshop CC. My breaks usually consist of a walk or two, and a limited break for lunch. I know some folks who actually plan a nap during their day, but I'm not so sure I could do that. The key here is… do whatever works for you, but make sure you do something. 07. Understand that some friends and family just won't get it Just say no "Hey, let's go to the movies. You're not working, right?" I'm not sure what it is about certain folks, but when you explain that you work from home, they immediately think this means you're not working. I used to get defensive about it. Then I would explain why I couldn't go out. Now I just politely decline. This technique saves me lots and lots of time. Top tip: while you may feel like skipping out on your responsibilities, don't! Giving into peer pressure isn't worth it. Remember Nancy Reagan? Just say no (and get your work done). 08. Wear pants Or shorts, or a skirt, or whatever Yes. I'm wearing pants right now. And no, I won't tell you what colour underwear I'm wearing… If you're excited about the prospect of 'showing up for work' in your underwear, don't be. Put some clothes on. If for no other reason, you should always be camera ready. Sure, you can keep the camera above the waist, but if for some reason you need to stand, you'd hate to be… get this… caught with your pants down. See what I did there? 09. Make friends, stay connected (and have reliable Internet) Try not to get locked into a checking Slack/Facebook/Twitter cycle, though Whether you're working alone or working with a team, it's important to stay connected. Luckily, there are a variety of ways to do this. Slack, instant messages, Facebook, and Twitter are all great ways to accomplish this. Being a social shut-in isn't good for you. Get out there and connect. Besides, you never know when one of those connections will lead to more business; knowing how to network is an important part of the job. 10. Eat healthy Squeeze a bit of salad into that and it'll be fine I won't lie… occasionally you'll find me snacking on the worst food possible – especially when deadlines are looming – but in general, it's a good idea to keep your kitchen stocked with healthy foods. When your commute to food is under 10 seconds, your choices need to be limited to things that won't kill you quickly. I like to keep fresh fruit, cereal, and salad on hand. I notice that when these foods are missing from my pantry, I end up grabbing the bad things like crackers, squeeze cheese, and chocolate. No, I never tried all three together! Hmm…? 11. Limit your research time There's a fine line between research and messing around on the internet You may think this qualifies as 'limit distractions', but it's a little different. If you're working on a new project, one in which you may not have all the answers, don't let yourself spend an entire day doing research. Take a break. Come back to it later when your mind is fresh. No good will come from reading the same web articles for hours on end. 12. Leave the house Make sure you at least order a coffee before setting up your remote office Social media is great for staying connected, but it's no replacement for real-life social interaction. Even if you're not a social butterfly, it's important to leave the house. Get out there and explore. Take a trip to the store or go to the movies with friends (just not during your work day). As an alternative, change it up a bit. Find a local shop that has free wi-fi, and set up your work area there for a bit. Just don't be a jerk. Make sure you order some food and tip the staff accordingly. So those are my tips, what about you? Tell us your work-at-home tips in the comments below… Contributions: Jim McCauley Related articles: The expert guide to working from home 8 tools to help you work remotely as a freelancer 16 great places to sell your design work online View the full article

Discover the secrets to creating stunning fantasy book illustrations with the latest issue of ImagineFX magazine - on sale today. Inside issue 159 you'll also discover how creating fan art can lead to paying gigs, plus you'll learn how to develop designs for book characters. Buy issue 159 of ImagineFX here! On top of this, issue 159 is packed amazing artwork sent in by our very own readers, plus tips to help artists develop their core skills. Meanwhile, there's also all the latest news, tech updates and book reviews of what's big right now in the world of digital art. Check out this issue's headline features below. Click here to subscribe to ImagineFX Visit Olivia Lomenech Gill's hand-built studio This incredible studio is a dream come true for Olivia Plenty of artists pine after a studio that they can call their own, but Olivia Lomenech Gill went one step further and turned this dream into a reality. We catch up with her to take a tour of her eco friendly, hand built workspace. Inside the mind of Sam Weber Uncover the mystery behind Sam Weber's amazing work Sam Weber's art has been described as magical and mysterious, although the artist himself is weary of explaining his work. Instead, he uses stories to relay the importance of art in his life. We talk to him to hear his story in his own words. Explore the portfolio of Simon Stålenhag Simon Stålenhag's art finds a balance between fantasy and reality A relative late-comer to the genre of science fiction, Simon Stålenhag's art blends the rural delights of his native Swedish landscapes with fantastical elements such as robots. Here he explains why he wants to used science fiction to create art that means something. Create a mixed-media portrait Traditional and digital art come together to create stunning visuals In this workshop detailing the making of our cover art, Wylie Beckert shares how to combine monochrome ink and pencil art with digital colours to create a haunting woodland scene. Pick up a new Photoshop skill This new series helps you brush up on the Photoshop basics In the start of a new series all about Photoshop skills, Mark White shows you how to get to grips with the software's illustration tools before going on to show you exactly what they're capable of. Learn advanced Photoshop techniques Once you've got the basics of Photoshop skills down, it's time to take things further with this advanced Photoshop advice. Suzanne Helmigh is on hand to add some realism to your art with improved lighting techniques. Related articles: 23 stunning book illustrations How to break in to book illustration How to illustrate children's books: 7 top tips View the full article

Trends: whether you embrace them or avoid them like the plague, it pays to know what they are and why they're relevant. After all, they've become trends for a reason. However, many design trends - particularly aesthetic ones - can be transient, flash-in-the-pan things. They're all too often about imitation, rather than inspiration. So far we've brought you the biggest graphic design trends you need to know about this year. Design movements Design movements are different. They're much larger in scope, often encompassing multiple creative disciplines, and are influenced by global social and cultural factors that go far beyond simple aesthetics. Many of the 20th century's major design movements are still relevant today. Read on for our guide to six of the biggest design movements of this millennium so far... 01. Designing failure This collaboration between FIELD and SEA Design for G F Smith resulted in 10,000 unique pieces of generative artwork for the paper company's brochures Failure can be a great teacher, provided you learn from your mistakes. But over the past decade or so, many designers have embraced its role not only in the creative process, but the visual outcome as well. From generative design to glitch art, creatives are sacrificing control in favour of beautiful randomness. Failure can also encourage innovation, disrupting longstanding conventions and seeing the world in a less polarised way. From a manufacturing standpoint, imperfections in the final product provide an antidote to identical mass-produced items - and there's a market for products that celebrate errors, inaccuracies and imperfections as USPs, making them more exclusive and unique. Many of the students at LCC's 2017 graduate show celebrated glitches and randomness, including Richard Underwood - who created patterns using data captured from ball bearings rolling around a light box Generative design, in which designers set the rules and parameters to make an algorithm, but then ultimately relinquish control of the actual visuals produced, has also taken off in a big way this millennium, resulting in many different unique iterations of graphic products in sectors from packaging to publishing and beyond. Caused by technological malfunctions, glitches tend to be uninvited when they appear in the production process, but these too are being celebrated and encouraged as part of this creative movement, with some designers appreciating the combination of mechanical failure and human intention to drive new graphic styles. The involvement of artificial intelligence in the process has stoked much debate and discussion about whether designers will ultimately become obsolete as we increasingly embrace the products of machine thinking. But in a field where little room has been allowed for failure in the past, more designers than ever are embracing chaos in their creative practices, and benefitting from it. 02. The real thing London-based studio Here Design has a whole division called Here Makes, dedicated to crafting beautiful bespoke objects for its clients: such as this wooden box for Balvenie whisky In recent years, another counter-movement against identikit mass-production - as well as the clean, perfect digital aesthetic - has been a widespread yearning for hand-crafted products rooted in cultural traditions. As with the previous movement, imperfection is celebrated as it adds to the authenticity. Such craftsmanship helps create a meaningful connection between maker and consumer. In the face of global political and economic events outside of our control, as well as the mass-produced ubiquity of certain products, consumers are reminiscing fondly about the past and placing more value on the objects around them, choosing quality over quantity. Hand-crafted products have stories behind them - they're made with care and attention - and the human touch creates far more emotional resonance than a generic production line ever could. A desire for brands to be grounded in something real and authentic has sparked a recent wave of rebrands that bring the heritage of the brand to light, including Co-Op, Kodak and NatWest Transparency in the production process is another key factor in craftsmanship's newfound demand. After years of mass-produced, sometimes unethical practices, consumers are keen to understand a product's heritage. And the best way to communicate this is for brands to showcase not just the production process, but the people behind it. This fuels consumer desire to see, understand and appreciate what has gone into the making of a product or service. Facing an ever-changing marketplace, consumers are finding reassurance in heritage brands that have survived the test of time - which is at the heart of the so-called retro design trend. 03. The beauty of simplicity Stockholm Design Lab's super-minimal packaging for Japanese office materials supplier Askul pares design back to its simplest form Our daily lives are completely over-saturated with information, choices to make, and extraneous noise, and so consumers are increasingly looking to products and services that simplify their environments both visually and functionally. While on the one hand digital innovations have helped streamline some of the daily decisions we have to make, in this 'always on' world the internet and social media have created even more noise in different ways. Busy, over-stimulated consumers increasingly want simple, efficient, seamless and fuss-free products and experiences. A wave of rebrands in recent years have stripped away playful typographic flourishes in favour of clean, simple, sans serif wordmarks - including eBay, Airbnb and Pinterest Brands and services that are intuitive, remove distractions, filter choices and personalise content have come to the fore in this millennium as they make day-to-day living simpler. Complex data is visualised to help consumers decipher what they need to know, and designers are crafting objects that integrate into consumers' daily lives, building convenient solutions into the products themselves. These intuitive technologies, compounded with fuss-free design, mean that consumers can look forward to simpler times to come. And as individuals seek out clearer and simpler solutions to their complex lives, branding has increasingly reflected this shift in consumer behaviour through leaner, more minimalistic logos and identities, and design that works smarter to cut through the clutter. 04. The DIY economy Modular, open-source systems such as OpenStructures have helped democratise design. Like a collaborative Meccano set, everyone designs for everyone on the basis of one shared geometrical grid The creative economy has changed radically this millennium, as open source software, 3D printing and other constantly-evolving technologies have put design and production in consumers' hands, with big consequences for creatives. Another byproduct of the push against mass-production, this DIY (design-it-yourself) approach sees people hacking their way into everyday products, as well as creating their own. In short, the rules of development, production and business have been transformed. The DIY and RIY (repair-it-yourself) movement is being fuelled by a variety of factors, including economic ones. Global economic instability over the past decade has forced individuals and brands to reconsider how they consume. Combine this with ever-falling prices in technology, and you have a new creative manufacturing economy. There's no better example of how a global brand can appropriate the DIY movement than Nintendo Labo. Launching April 2018, it enables gamers to construct their own accessories out of cardboard Investors are laying down new rules, writing manifestos that will describe and define how they want the world to work in an efficient, creative and open way. Amateurs across various media now have the opportunity to become experts and specialists, with public access to unprecedented amounts of shared knowledge and, thanks to crowdfunding platforms such as Kickstarter, the means to make ideas a reality. Open-sourced, collaborative models are on the rise, helping people develop ideas, products and communities. Where hacking was once primarily associated with cyber crime, it has now become a pastime for everyday consumers. Theoretically, anyone can be a designer as the resources required become increasingly available, and communities that cultivate skills are springing up everywhere. 05. Reality and digital collide Designer and artist Santtu Mustonen blurs the boundaries between digital and real, treating digital graphics more like paint Designers are bringing together the disparate worlds of analogue and digital, converting one to the other, picking up glitches and making more interesting work as a result. As digital technologies become increasingly sophisticated, the boundaries between the digital and real worlds are blurring more and more, creating a playful relationship between humans and technology - a movement dubbed The New Aesthetic by British author and artist James Bridle. Real-world environments are increasingly supplemented with digital information through augmented reality, digital landscapes and personal avatars, while designers are compelled to visualise an ever-evolving digital society, testing different ways to translate digital into analogue. Technology becomes a filter for how the real world should be viewed, a playful testament to the rapidly changing digital landscape. Arguably the most successful application of AR into mainstream culture so far, Pokemon Go became a global phenomenon. AR integrations have now become much more commonplace, such as Snapchat filters Nostalgia for tangible crafts and objects, as discussed earlier, has also called into question the role designers play in challenging the status quo, pushing creatives to reconsider the methods and tools they use to create works. Ultimately, through hacking, constant questioning and reformatting of tools and techniques, the relationship between humans and technology is constantly evolving in the world of design. There has been a noticeable rise in technologically enhanced aesthetics, particularly within objects and products than have been 3D printed or visuals that have been rendered. 06. Experience culture Having made their name in jelly sculpture, Bompas & Parr are now the kings of multi-sensory experience design, delivering "emotionally compelling experiences to a wide variety of audiences" From the sublime to the surreal, the ludicrous to the lavish, experience is becoming everything - and consumers are increasingly turning into thrill-seekers. Following the economic crash, impulsive, binge-shopping and 'fast-fashion' consumption has given way to a desire for meaningful, experiential interactions. In place of a conveyor belt of products, consumers are increasingly hungry for experiences that challenge and immerse the senses. For many, events - and the memories they create - are being valued above physical products. Charismatic French designer Nelly Ben Hayoun has spearheaded a whole range of colourful experiential projects, including Super K Sonic Booooum - which imagines what it would be like to experience a sonic boom This experience economy can be seen as a response to the post-recession world we live in. Economic, social and political turbulence have left consumers seeking a sense of escapism. In its purist form, it's about theatre and performance. Experimentation is essential in the experience economy, with the goal to immerse all the senses by indulging people with surprise, delight and wonderment to distract them from the challenges and business of real life. Related articles: The best computer for graphic design 2018 Be a better designer in 2018 12 essential tools for graphic designers in 2018 View the full article

In an ideal world, a digital project should act like a campfire; a central point of interest that draws together experts, practitioners and stakeholders. But when you’re trying to achieve this across an ever-shifting team, how might you maintain that shared sense of focus? Here are some top techniques to try. 01. Create a shared vocabulary Every project participant comes to the table (even if it is a virtual one) with a different lens; a different perspective on a subject, which means they have a different language from you. If you’ve ever sat at a boardroom table listening to a conversation and thought “I don’t understand what these people are talking about” then you’ve experienced one of the main blockers to creating a fruitful collaboration, which is not having a shared language. The more diverse your group members are, both culturally, physically, mentally, and in terms of their domains of expertise, the more potential you have to innovate and create something no-one has ever seen before. But it requires acknowledging that time and effort need to go into the language you’re using. As part of my work at Clearleft, I recently facilitated a workshop with 16 Artificial Intelligence experts from all over the world. In order to create divergence in the conversation and reflect the diversity in the group, I ran a “vocabulary dump”. Every individual took 15 minutes to write out all the words they could think of from their domain on sticky notes. We stuck them together randomly in a cloud, covering several metres of window space. We then used our huge vocabulary cloud to act as a starting point for discussion, allowing people to question what one another’s phrases meant, and also pick up on nuances in meaning. It was a wonderfully collaborative way to spark helpful discussion and identify where there was convergence and divergence in our vocabularies. 02. Establish a north star A few organisations we work with are now using the evocative term “North Star”. It’s a short central organising statement in the form of a proposition or an elevator pitch. The act of composing this short North Star statement with everyone on your project is a surprisingly challenging exercise in collaboration, but the major benefit of the work is that it draws the team together in order to iron out inconsistencies in everyone’s perception of what they’re doing. It’s not copywriting or marketing language, it’s just a plain language statement that shows the team have consensus around what it is they are creating together. Try working with your team (whether they are near or far) to answer these questions about your project: What does this thing do? For example, it’s a thing to write with Who is it for? For example, it’s for people who want to write things down How does it help them? For example, it helps them to collect all their thoughts on paper 03. Make a set of cultural principles Some organisations like to create sets of values, others have rule books, some even have manifestos. One set of guidelines we’ve enjoyed using is the “It’s ok to…” list, inspired by a system used by the .gov.uk team. Examples from that list include: It’s ok to say ‘I don’t know’ It’s ok to have a messy desk It’s ok to make mistakes One way to gather these guidelines is by asking your team members to contribute stories that begin “I liked it when…” or “I like the way…” about other brands, work experiences, or about your working culture. The act of doing this is in itself a positive experience that focuses the team on the act of collaboration. Get your tickets to Donna Lichaw's talk at generate now! Donna Lichaw guides startups, non-profits, and global brands in optimising their digital products and services by providing them with a simplified way to drive user engagement. In her talk at Generate New York from 25-27 April 2018 she will reveal while many of us seek out the newest and shiniest tools, methods, and processes to build more successful websites, apps, products and services, we often overlook one of the oldest, leanest, most effective tools out there: the structurally sound story. Whether you realise it or not in the moment, you experience everything as if it was a story. The better the story, the more likely you are to want to use a product, continue to use it, pay to use it, and recommend it to others. Get your ticket now! Related articles: 10 visual storytelling tips from top agencies 10 top new illustration tools to explore 7 great examples of branded content View the full article

As a Disney interpretive artist, I wouldn’t be doing Walt justice if I wasn’t pushing the boundaries of art. Walt Disney himself introduced us to the multiplane technique and countless other painting techniques and innovations that offered an artistic excellence, giving audiences a more realistic perception of animation. My new Believable Fantasy technique came from the desire to get 3D and digital artists a little more recognition when competing with tradition oil and acrylic painters, who can offer up their original works for thousands of dollars. Digital artists, on the other hand, don’t have originals. We have Giclée prints of our work, while the originals remain in the digital realm. So I had to come up with a hybrid mixed-media solution. The results afford me the opportunity to have more originals than the traditional artists and more value than artists that are 100 per cent digital. Join me and I’ll take you through my process. 01. Painting on canvas The first stage is to paint the character and textures in the scene on real-world mini canvas At the first stage, I paint the character and textures in the scene on real-world mini canvas using either traditional oil or acrylic paint. This takes a lot of forethought, so I tend to sketch out the scene and do research before I begin the paint process. All of my Disney pieces are approved by Disney for ACME China and are featured in the new Shanghai Park, so both Disney and ACME are a part of the process at every stage. The integrity of the Disney Characters is paramount moving forward. I begin painting the characters and various surfaces that I know I’ll need in the scene. For this particular scene I only painted the characters because the scene I wanted to interpret had solid colours on all of the surfaces. If it had say, a cobble stone street, or a fantastic sky, those elements would be hand painted with real paint on 8x10 canvases. 02. Moving into 3D Payne uses Autodesk Maya to bring his masterpieces to life Once the paintings are scanned into the computer, I move on to the second stage where Autodesk’s Maya is my weapon of choice. There really isn’t a more powerful tool out there and I’ve used it as a video game artist for the last 15 years. I’ll spend several days modelling out the scene in great detail, sometimes going so far as to model the keyholes in the doors. While I paint mostly Classic Disney movies, my contribution and purpose for the technique is that I wanted to believe these places are real locations. So imagine traveling to the Dwarves cottage with an HD camera. I want to give these classic scenes a level of realism as if Walt had been alive today with today’s advancements in technology, without compromising the integrity of the original style of the picture. 03. Up next: Corel Painter The 3D result is rendered out and brought into Corel Painter After extensive modelling, lighting and texturing using my real world paintings, the result is rendered out and brought into Corel Painter. At this stage, the geometry has a very hard edge look to it and is devoid of the painterly look that you see on the acrylic painted characters. 04. Digitally repainting the image Payne uses a number of different brushes in order to achieve a look that is consistent with his real world paintings In Corel Painter, I use a number of different brushes in order to achieve a look that is consistent with my real world paintings. I use the “Oil blender” brushes to rough up the edges and then I use digital Oil brushes, “real oil short” for example to add more hand painted details. I hit everything with blenders and digital oil brushes literally repainting the entire image. This can take anywhere from two days to a week. In some cases, if the background has a sky that I’ve hand painted in acrylics and scanned in, I’ll use this for reflections in the scene. The goal is to keep the integrity of the traditionally painted textures while matching the other surfaces to them so that they have a consistent painterly look. 05. Fine detail Payne does at least 50% coverage of real acrylic paint on the final master Once I’ve added the character to the scene and blended the edges, made final adjustments, I send the digital file to ACME where it is handled by their Print Masters for final proofing. At this stage, we check colour values and contrast to make sure that the archival ink print is at the highest standards of quality and excellence. This Giclée print isn’t quite ready for primetime yet though, there is one more important stage. In order for the painting to qualify as a mix-media original, I do a minimum of at least 50% coverage of real acrylic paint on the final master, adding even more hand painted details to the final painting. The benefit of this technique achieves a level of colour, contrast and detail never before seen in the galleries. It also allows me to offer collectors a mixed-media original that can come with the making of process, the sketches, and the mini canvases. 06. Nearly there... The final stages involve hand embellishment Above, you’ll see the final result. But – believe it or not – we’re still not done! I do something special on my artist proofs. I hand embellish the work and paint many of them with a luminescent paint that can be seen in the dark revealing hidden secrets within the art, while adding gold or platinum dust for subtle sparkle. In this particular piece, I hand-laid tiny Swarovski crystal on the shoe and dress. Each painting can take anywhere from three weeks to five months to complete. For more examples of my Believable Fantasy medium visit Wish Pictures. Related articles: How to animate the Disney way Disney's Frozen gets negative space Broadway poster Disney's AI could predict audience behaviour View the full article

Serif has announced an exciting update to Affinity Photo for iPad, and is marking the occasion by offering new users three bonus content packs when they purchase the app (US$19.99/£19.99). Apple's current App of the Year, Affinity Photo for iPad was designed as the first complete, professional-level photo editing app for iPad, and this revision promises even more powerful features for professional artists and designers. The best iPad deals for designers Version 1.6.7 features a new ‘Solo Layer View’ mode, that enables designers to isolate individual layers instantly, as well as enhancements to the Drag & Drop functions, and a ‘Show Touches’ option that lets you create more detailed screen captures (ideal for tutorials). Designers will also now be able to add their own fonts. There are exciting changes for photographers too. Users will now be able to shoot direct in RAW or HDR directly from within the app, and enjoy greater control over RAW processing. Finally, there are tweaks that promise to streamline your workflow – for example, users will be able to open and edit files in place directly from the iOS Files app, and save overwrites back to the same location (without needing to create a copy). This is Affinity Photo for iPad's third major update since it launched in June 2017. “Affinity Photo was created to take full advantage of the amazing technology the latest iPads offer, and our developers continue to work tirelessly to cement its reputation as the benchmark for creative apps on iOS,” comments Serif's MD Ashley Hewson. Free brush packs To celebrate the update, Serif is offering free goodies when users purchase Affinity Photo for iPad (offer ends 8 March). Along with the app, customers will get a Luminance brush pack (13 light effect brushes), a Retouch brush pack (20 retouching brushes) and a Live Filters macro pack (28 non-destructive live filter layers). Together, these packs are worth almost as much as the app itself. Existing users can claim the free update by following the prompts in the app. To find out more, see this blog post. Read more: How to draw with Affinity Photo for iPad 9 iPad Pro apps that make the most of Apple Pencil How to draw: 95 pro tutorials and tips View the full article

"The future, always so clear to me, had become like a black highway at night. We were in uncharted territory now, making up history as we went along." Thus spoke Sarah Connor at the end of Terminator 2. But these prophetic words could just as easily apply to the state of the web industry today. The future of web apps With new techniques, technologies and movements constantly arriving on the scene, our sense of where things are going is more uncertain than ever. And so we wanted to investigate what the landscape of web design might look like in another 20 years or so. But don't expect to hear from self-styled 'futurists' and 'thought-leaders' who spend more of their working days giving TED talks and writing Medium posts than actually sitting down and designing. Instead, we've reached out to some professionals who are doing real-world work, to get a more grounded view of how they think things might progress. Here's what they had to say… Developer tools will change the game Pusher's developer tools make it easy to build realtime features into your applications As we move towards the mid-21st century, it's indisputable that web design is going to become increasingly important. As people live more and more of their lives online, digital user experiences will be the rock on which almost every big organisation is built. But there's one slight problem. "There's a demand for good software but broadly speaking, there aren't enough good developers to build those things," says Craig Frost, designer at Pusher. "And even if there were, infrastructure is something that takes lots and lots of time and attention – time that could be better spent on building features for customers." But here's the good news: to plug that gap, we're currently seeing an explosion in developer tools. Pusher's tools, for example, make it easy to build real-time features into applications, so they update automatically without users having to refresh the browser. "We want to act as a force multiplier, to help end the reinventing of the wheel across the industry," explains Frost. "There's lots of infrastructure and all those types of things that goes into building software, and we want to take that burden away from the product building teams." Sebastian Witalec, developer advocate for mobility developer relations at Progress, tells a similar story. Its open source framework, NativeScript, enables you to build both desktop and mobile applications on a single codebase. "Once you would have needed five different teams to do that, each with skills that are totally untransferable," he points out. "Now you can leverage the web skills you already have to do it all." Progress' open source framework, NativeScript, enables you to build desktop and mobile apps on a single codebase And the trend for redefining how web systems are created is most obviously (and somewhat) controversially seen in the rise of React and CSS in JavaScript. "CSS in JavaScript is a big shift in how we design apps," says Haukur Páll Hallvarðsson, an engineer from Pusher. "It's stepping away from the idea that HTML is content, CSS is how it looks and JavaScript is what it does." But he's still fully in favour of it. "Focusing on building reusable components solves a lot of problems," he argues. "I think it's good to change how we do things every now and then, to see if we can improve them." And the pay-off to all this is that web experiences will become quicker and cheaper to create, adds Frost. "Building websites used to be slow, expensive, and hard to maintain. And it also meant you had to have a lot of skills, a lot of people. Now we're putting the power back into the product builders' hands. Which means you can spend less time maintaining these applications, more on customer needs. Having conversations with them, building things they need." And how should we discover what users need? Funnily enough, that's something that's changing too… Data meets design Fjord believes the future of web design lies at the intersection between data and design The future is going to be all about bringing design and data together, believes Nathan Shetterley from global design and innovation company, Fjord. "I think this will be the underpinning of not just all web design, but all business," he says. So what exactly does he mean by that? "I'm talking about designing an experience that's helpful to the user and leverages data and analytics to make that personalised and contextualised," he says. "So don't give me an experience that's meant for someone else; don't treat me like a 'between 25 and 40-year-old white male'. Treat me like Nathan Shetterley." This already happens with ads, he points out. "Google is crawling my Gmail to understand what I'm interested in and providing me with an ad specific to something that I probably have some interest in. But we don't do it very well outside of ads." Yet the technology infrastructure is there, so in his view, it's just a matter of time. And this shift isn't just going to apply to consumer experiences, but employee ones, too. "How frustrated are you, say, with your internal tools for putting in expenses?" he asks. "Why doesn't the system automatically say: 'Look, I think these are all your expenses, is that true?' And why is that not making your life as an employee that much better? I think that's going to become very pervasive over the next 10 years." There's a simple way to get on board with this shift in approach, he adds. "Right now, when people start a project they say: 'Okay: design lead, you go over there and do your service design thing. Data lead, you go over there and look at these numbers. And we'll meet back in a couple of weeks and talk. But I think that's a big mistake." Instead, designers and data scientists should be peers in the same team, bashing ideas out together. "At Fjord, we've found some of the most valuable opportunities for design come when our designers interview a bunch of people and they have these really interesting insights into how they think and feel," he explains. "And then we compare that to a data set." For instance, they once researched shoppers in a grocery store. "They all said: 'The line is terrible, I can't believe we're waiting so long in line.'" When Fjord analysed the security videos, though, it realised the queuing time was quite short: around 45 seconds. "Yet shoppers were spending an hour and a half in the store, trying to find whatever they were looking for. So we realised it was actually more of a wayfinding issue than a line issue." In other words, while the human thinks one thing, the data often says something different. "The truth may lie somewhere in the middle and that's where you get some interesting design features," explains Shetterley. "Apply that to the web, and you find that people tend to remember the last worst experience, yet don't necessarily bring up the small annoyances that go on forever. But you can track those using data, so mixing those two together becomes really valuable." Conversational interfaces Sigma has been investigating the possibilities of conversational interfaces, and it has some reservations over the practicalities Understanding how your users think and what they need is going to be key to knowing how to implement new technologies. And that certainly applies to another major cultural shift on the web; towards conversational interfaces. Because the biggest problems here won't be technical ones, they'll be human ones. UX and design agency Sigma has been investigating the possibilities for some of its larger clients. "And a lot of the challenges we've seen around conversational interfaces align very closely with the challenges around inclusive design: mental models, language, confidence trust, and so on," reveals head of experience, Chris Bush. His MD, Hilary Stephenson, points out that conversation interfaces fundamentally change the game in a way we haven't really seen before in web design. "It's a big step moving away from a traditional screen-based interface, where people can take their time to navigate around and look at supporting information, policies, terms and conditions," she explains. "When you've got a screen, you've got something that's giving you cues constantly and keeping you on track, but for conversational interfaces, it's all in your head. That makes exploratory investigation much more difficult for people," she concludes. That's not to say there isn't a genuine place in the market for them. "For example, consider places where people are using their hands a lot, such as production lines, manufacturing and laboratories," says Bush. "Interfaces that allow people to keep their hands occupied when they're interacting with systems offer clear advantages." But many dangers are lurking, too: "AI and machine learning have more ground to cover in ethics, privacy and transparency than they have in implementation," comments Stephenson. "The onset of the General Data Protection Regulation (an EU directive that becomes enforceable in May 2018) will encourage privacy for design in the digital community, where we really start to think about what we're asking people. "And where we do ask people to give data, there should be a very clear policy of usage, on retention, on people's right to withdraw that data. It's quite hard to do that in a conversational interface." Web animation Creative marketing agency, CAB Studios, is fully on board with the new trend for bringing in UI animations If chatbots take off, copywriting skills may become as important to the industry as visual design skills are right now. And here's another creative skill that's going to be increasingly in demand: animation. Yes, we once dismissed UI animations as tacky, annoying and obtrusive. But recently they've made a comeback, as a useful way to provide instant feedback when a user takes an action and to guide them through a process. Why the turnaround? Tommy Mason, web designer at creative marketing agency CAB Studios, credits Google's Material Design and other animation frameworks for raising standards. "Without that, people weren't looking at the small intricacies like the timing, how fast it was coming in, going out, so all these movements that were happening on the screen looked very unnatural," he says. His colleague, senior developer Mike Burgess, agrees. "UI animation has always been there," he says. "But it's been about finding the balance between making it look sophisticated and making the user know their input has been registered, that they're progressing throughout the site." Because of the new popularity of UI animation, it is creating a new demand for skilled practitioners, he adds. "You can now specialise in animation on the web, and it's becoming more recognised as an art in itself. We live in a digital world where people scroll through 300ft of content a day, so the more and more we progress in technology, the more this is going to keep escalating." VR and AR A-Frame is an open source framework from Mozilla that makes it easy to create web VR experiences Another skillset that's increasingly in demand by web design studios is 3D. That's most obviously the case when it comes to virtual reality - something Matthew Claypotch, developer advocate at Mozilla, believes is going to be a very big deal. "Some developers view VR as a niche or a fad," he says. "But I've given virtual reality demos to children, and they take to it like water. All these kids are going to be brought up in a world where this stuff exists, and we'd be fooling ourselves to think that they won't expect that going forward." And don't discount augmented reality (AR) either. It may have taken a while, but with the arrival of Apple's ARKit and Google's ARCore, things are progressing fast. Sebastian Witalec of Progress envisages a world in which the web will become part of our day-to-day vision. VR: is it the future of design? "You won't have a screen any more, the web will just be part of what you see through your smart glasses or smart contact lenses," he explains. "So for example, you go to Waterloo train station and, rather than look at all the different screens to find your train, your device already knows where you are going and shows just the relevant times to you." Jim Bowes, CEO and founder of digital agency Manifesto, wasn't convinced by the possibilities of AR until recently, when he saw a concept for Airbnb homes suggested by interface designer, Isil Uzum. "If you need to explain, for example, how your thermostat works, your renter can pass their phone in front of it and see the relevant information overlaid on the screen. That to me sounds like a genuinely useful application of AR," explains Bowes. Open or proprietary? Will Google Home beat Amazon Echo in the battle for voice assistants? All these new technologies hold heaps of promise. But it's important, too, to take a step back and look at the broader picture. Will the open web actually survive over the coming decades? "We're currently seeing the emergence of a walled garden movement from some of the main players, like Facebook and Google," points out Bowes. And this is proving somewhat of a dilemma for clients. "On the one hand, most of their customer journeys still happen on their own websites. But they want to integrate with things like accelerated mobile pages (AMP), which gives Google the ability to cache everybody's content on their own systems. "Plus clients are asking: what does it mean if we create a bot entirely in Facebook Messenger? What if we want to break someone out of that environment and make them download this thing, or donate to us, or buy from our shop? These are real big issues we have to face." But Bowes is among the optimists when it comes to the survival of the open web. "What I love about the internet is that whenever someone makes a move towards a walled garden approach, there's always a bit of an uprising, a punk backlash against it," he believes. "That's when we'll create the cool new things we don't know about yet." As one of the key players leading that charge, Mozilla has, for example, developed A-Frame, an easy way to create virtual experiences on the web, and right now, it's taking on Amazon Echo and Google Home in the voice assistance space. Mozilla's Common Voice project aims to provide an open source alternative to proprietary voice interfaces "We want to allow for an open web-based system whereby you can build voice assistants," explains Matthew Claypotch. "So we're building an open commons of voice data called the Common Voice Project, which we're using to train an open and publicly available speech recognition model." It's this kind of community-led enthusiasm for new, open source developer tools that gives us hope for the future of web design. So count us among the optimists; roll on 2040! This article was originally published in issue 300 of net, the magazine for professional web designers and developers – offering the latest new web trends, technologies and techniques. Buy issue 300 here or subscribe to net here. Related articles: 5 expert ReactJS tips that you need to know today The VR web is here 7 game-changing web design tools for 2018 View the full article

Your clothes and shoes could soon be made from seaweed. That’s if AlgiKnit, a biomaterials research group based in New York, has anything to do with it. AlgiKnit is devoted to developing wearable textiles from readily abundant biopolymers. Fashion is the world’s second most polluting industry, says fashion design graduate Aleksandra Gosiewski, who’s a co-founder of AlgiKnit and speaker at Design Indaba 2018. AlgiKnit’s goal is to keep fashion products out of landfill and reduce microplastic pollution by creating a sustainable alternative to manmade textiles like polyester. The team has produced a rapidly renewing biodegradable yarn that might just do the job... and it's made from kelp. The AlgiKnit bioyarn is different to synthetic material, and has a lot of natural stretch In fact, they’ve done more than make a bioyarn: they’ve also made a shoe. Introducing AlgiKicks – a revolutionary sustainable sneaker that rapidly degrades after the product has finished its useful lifetime. When you no longer want the shoe, it can effectively be composted and fed back into the earth “When it’s worn out, or you don’t want it, it can be broken down by microorganism and the nutrients reclaimed to feed the next generation of product,” says Gosiewski. “I envision a future where the materials we use can be transformed to feed the next generation of products." Knitting a new future So why kelp? “Kelp is one of the fastest growing organisms on earth,” she explains. It’s available globally and sourced sustainably and there’s a lot around.” AlgiKnit’s bioyarn project was initially part of an entry for the Biodesign Challenge, a competition that invites art and design students to envision future applications of biotechnology. Gosiewski’s team won the competition, and the group decided to continue their research under the name AlgiKnit. “If clothing is going to continue to be disposable, why not make it disposable in a way that makes sense – that actually benefits the earth? In way that has a positive impact instead of a negative impact? It takes longer to create a mind shift, so why not first create an alternative that already fits into the same mindset?” she says. “This is a first step to something else.” The main problem, says Gosiewski, is that people try to compare the product to synthetic materials. “Really it’s its own category: it’s something different. It has natural stretch and flexibility, and when you’re knitting you can really control the amount of material you use.” “We see our material beyond just fashion,” she adds. “There are more possibilities. We developed the yarn – we’re excited to see what people make with it.” Related articles: 10 pro tips for creating better T-shirt designs How to create an industry-leading brand in six months Design Indaba 2018: Building outspoken landscapes View the full article

Rebranding a global giant like Fanta, across all languages and territories, would be a major task for most large agencies. For Koto, it was one of the first jobs on the slate – and the studio rose to the challenge, putting it firmly on the radar of its peers. Koto was founded in 2015 by James Greenfield, Jowey Roden (both formerly at DesignStudio) and Caroline Matthews (former MD at Rupert Ray and Airside, where she worked with Greenfield). "We realised there weren't many people working at the intersection of brand and product," explains Greenfield, who headed up the major Airbnb rebrand while at DesignStudio. Diet Coke rebrands with slimline cans "We particularly serve the start-up scene, Silicon Valley, places where a lot of interesting things are happening from a business point of view. That's been the basis of our growth." Beside this practical reason for founding Koto, the trio also had an emotional one: "We wanted to create a family environment where people feel comfortable," adds Greenfield. "Branding can have an aggressive, male tendency at times. We wanted to create a buzz around ourselves, but in a way that everyone had a good time doing it." Here, Greenfield and recently hired creative director Tim Williams – another DesignStudio alumnus – discuss the studio's rise to fame... You burst onto the scene and built a reputation quite quickly. What's the secret? Tim Williams: There's a real sense of energy, reflected in who we work with: young businesses with a lot of energy too. The effort everyone puts in is enormous, and we reflect that in our culture. Our success has happened quite organically; I don't think there's any particular secret. We do the best work possible, and work really closely with our clients to make sure everything is delivered to the highest possible standard. James Greenfield: Anthony Burrill said it better than I could: 'Work Hard and Be Nice to People'. But we also manage our social reputation, using Instagram to give people a sense of what it's like to work here. When I've gone for jobs at other agencies, there's been no sense of that. I saw the work, their About page, that was it. You had no sense of the cast of characters, or what it feels like. We wanted to be more open. Koto's breakthrough project, the global Fanta rebrand, was based on a series of overlaid paper-cut shapes How do you handle Koto's social media? JG: We don't like marketing meetings. Some agencies are guilty of 'over meeting', if that's a word. If something feels like it might be good to share with the outside world at that moment in time, one of us gets our phones out. We don't do a glut of content, or try to be overly strategic. The best social media people get engagement because they are showing something of their authentic selves. We don't have new business teams, or social media marketing managers. You just don't need them. If we can't explain who we are as individuals on social media and as a team, then we're probably not doing a very good job. James Greenfield worked on the major rebrand of Airbnb while executive creative director at DesignStudio, and continues to work with the brand on a variety of projects at Koto. You say Koto's values drive your daily behaviours, what do you mean by that? JG: We came up with our values on the roof of the Tate Modern, when Koto was five or six people. We said: 'What do you want to be?' and 45 minutes later ended up with three composite values [presented online as: 'Uncompromising Positivity'; 'Just Cadence', or the need for rhythm in the creative process; and 'Relentless Hustle']. If we have that moment where the chips are down, or we're up against it and someone's come back with some really negative feedback, our values help us get us back up. Whether that's about being optimistic, or realising that relentless hussle is required to get through it. With the old model of design, you got the brief and all the content, and then you were a conduit to communicate that to the world. Those days are gone. We rarely get a brief. We rarely have all the information at the beginning. Those values have to help us get younger staff, or those who are stuck on something, to refind their love for what they're doing, or get a breakthrough. TW: It's not something you need to explain to everyone. They're implicit. You don't need to keep repeating them; they're a reflection of who we are. JG: Yeah, they're not written on the walls. But we're an optimistic brand, and we think it's better to map those on our website than have a long, dry bit of text giving a potted history of the founders. Agency websites are like Tinder. Clients are short of time, and want to work with someone. No one comes with unlimited time and money: the website should get them excited about working with us, but is never a replacement for meeting face-to-face. Let's have a coffee, talk about what you're facing, and how we can help. Koto's rebrand of Bridge Theatre, London's first new commercial theatre for 50 years You talk about the 'beginner's mind' as an important starting point – what is this? JG: It's about being open to stuff. As you go further through your career, you create more elastic responses to stuff. We're used to that in our everyday lives: 'I've seen this situation before, I've had this experience...' and you shortcut to the answer. If we did that, we'd end up in a situation where a finance client always gets blue, and a corporate typeface, and a vision that's about trust or safety. But if you use the beginner's mind, it's an open book. TW: It's about not jumping to conclusions. JG: Cynicism and scepticism are two traits that a lot of creatives hold. We hold our heroes and our tenets in creativity really high, and if people don't understand those, they're not in the club. They don't 'get' it. For us, it's about getting on the same level. Everything we know about creating, the reference points we've pulled together throughout our life, don't set us apart. Our job is to get them excited in the power of design, to make a change in their business. TW: Also, a lot of the businesses we work with are quite complex. We are beginners, and our clients are the experts – we need to learn from them; immerse ourselves in their culture. The Fanta logo was translated into multiple languages, and the studio also created a diverse range of fruit illustrations to represent Fanta's many flavours What advice would you give to fellow studios starting up to make a name for themselves? JG: Hire people better than you. Creatives often struggle with that, because they don't want to be outshone. They've got their own vulnerabilities. Half the people at Koto, maybe more, are way better at design than I am – and that's good. Also, when starting a studio, know when to let go. Creatives are really bad for that: making sure the kitchen's right, or the stationery is as you want it. You end up with creative inertia. If you want to get out of the blocks, you have to let go of some of it – otherwise you'll end up in a bottleneck, where you're the stopper. This article was originally published in issue 274 of Computer Arts, the global design magazine – helping you solve daily design challenges with insights, advice and inspiration. Buy issue 274 here or subscribe to Computer Arts here. Related articles: 5 ways to create better brand imagery When to use humour in branding 7 things to consider when planning a rebrand View the full article

Video editing is a great skill to have, especially in this new media environment where visuals are needed to catch people's attention. Adobe Premiere Pro CC is the tool trusted by professionals, and you can become one with the Adobe Premiere Pro CC Masterclass, on sale right now for just $21 (approx. £15)! Adobe Premiere Pro CC is the tool video editing pros trust the most. The best way to learn this tool is to go hands on, and this comprehensive course will help you get to work with this powerful video editing application. You'll find 59 lectures and over 5.5 hours of actionable lessons, that will help you pick up skills that will look great on your resume, or just help you put together some great videos for family and friends. The Adobe Premier Pro CC Masterclass usually retails for $200. You can get it on sale right now for just $21 (approx. £15). That's a savings of 89% off the retail price for a course that will have you editing video like an expert! 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. Related articles: The best computers for video editing 2018 The best video editing software 2018 5 best laptops for video editing 2018 View the full article

A fractal is a complex mathematical equation or sequence that produces geometric patterns which can be zoomed into infinitely and will still produce the same picture. Basically. There are naturally-occurring fractal shapes in everything from fern leaves to galaxy formations, and their link to chaos theory has meant fractals are a fascination of those seeking some kind of meaning to the universe. Back on Earth, fractals' beauty and infinite repetition means that some artists have been inspired to create experimental design work. Here, we've picked eight amazing examples of fractal art to inspire you. 01. Emergence Inspired by a trip to Chiang Mai in Thailand, this short by Julius Horsthuis cleverly combines pairs of different fractal techniques to create weird and eerie landscapes that mix dense vegetation with huge, intricate structures. If you're interested in creating your own fractal imagery, he's also created handful of videos explaining his processes. 02. Fragments of Creation James Alan Smith's fractal art is created using his own tools Artist and musician James Alan Smith has been building and programming computers since the age of 7, and as well as creating award-winning software packages, he also uses his own custom code - along with standard graphic art packages - to create fractal and geometric artwork. 03. Hal Tenny This amazing 3D illustration redefines what you can do with fractals Fractal art doesn't necessarily have to mean abstract and psychedelic. This piece by Hal Tenny, entitled New Time Machine, was created using Mandelbulb 3D, a free application for creating detailed 3D fractal renders with an incredible assortment of imaging effects, and it was the winner of the Fractal Forums 2016 Fractal Art Competition. 04. Dr-Pen Polished Rainbow Bands is a gleaming example of 3D fractals An art hobbyist and curator for Society6, Dr-Pen has been creating 3D fractal images for over four years. We love the vivid colours and clean lines of Polished Rainbow Bands, which he created using Mandelbulb 3D and then edited in Photoshop. Check out his DeviantArt gallery for a dazzling collection of his fractal work. 05. Fleur D'apo It's easy to get lost in this mesmerizing fractal artwork This entrancing and colourful piece of fractal art is the creation of a Canadian DeviantArt illustrator by the name of mynameishalo (or, to use his account name, Jeff). Made with an apophymator script, this explosive and stunning image is available to buy as a hi-res print. What's more, if you're looking for artistic tips from this fractal fiend, head over to his DeviantArt page to find an in depth apophymator tutorial. 06. Water Lilies We love the colour used in Roger Johnston's fractal art pieces These fractal flames were created by Roger Johnston and are an "extension of the iterated function system class of fractals". Johnston has been creating fractal art for years and stands as one of the most impressive and unique creators in the field. We love his gorgeous use of colour and intricate details. 07. Jorge Abalo The surreal offerings of Jorge Abalo's fractal art is a marvel Jorge Abalo is a self-taught artist who has been making art for as long as he can remember. He began working in digital art in the 1990s, and did comic illustration, design, 3D modelling, and flame fractals (Apophysis) before being introduced to Mandelbulb 3D in 2011. His work is a surreal and beautiful take on fractal art. 08. The Manhattan Project Jacob Ankey's fractal art is hugely inspired by nature Californian DeviantArt illustrator Jacob Ankney creates some pretty incredible fractal art designs. We adore his take on nature and his ability to incorporate the fractal art style into flowers, trees and more. The colours and texture create a feeling of awe and what's more, you can buy the prints! Contributions: Jim McCauley Related articles: Discover these mind bending examples of trompe l'oeil Get to grips with the golden ratio in this easy guide The beginner's guide to flat design View the full article