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Wireframes are dead! Interactive prototypes are everything! We’ve heard these shouts for at least the past seven years. If the popularity of these discussions proves anything, it’s that the opposite is true. The mere fact that we continue to discuss the alleged death of wireframing proves that wireframing continues to suit at least some projects and some designers. So how has wireframing survived? It continues to evolve. Long gone are the days of black on white wires built in Microsoft Visio or Excel Spreadsheets (yes, I worked with PMs who used to place wireframes in spreadsheets). The evolution of wireframes Today’s wireframing has been split into multiple techniques that serve the different purposes, projects or preferences of designers. Lightweight interactive wireframes Some designers like to gather early feedback with lightweight interactive wireframes (take a look at The Guide to Interactive Wireframing). Interactive wireframes are design deliverables that represent the high-level architecture and the most basic interactivity. Created in the span of hours instead of days, they help with user testing and getting early buy-in from stakeholders. Interactive wireframes might be destroyed soon after their creation, or evolve into a completely different asset that is part of the overall concept. Content wireframing a video app Content wireframes Another version is a content wireframe (see the Content Wireframing for Responsive Design guide). This static form serves as a structure that is used to plan content and information architecture before investing time and money into the rest of the interface design. This technique works well for content-heavy websites, which need a careful content strategy, before we designers get all creative with their form and beautiful looks. After all, content is king. Microframes Finally, there are wireframes that have evolved to be even lower fidelity. In this form the wireframe is minimised, text is replaced by geometric shapes and every piece of the interface is simplified as much as possible. That’s my favourite new form of wireframing. What microframes are Microframes, or micro-wireframes, are miniaturised versions of wireframes. Microframes amplify the benefits of wireframing and eliminate most of the shortcomings. Their benefits include speed, clarity of communication and lack of confusion. Microframes are as fast as sketching, but let you easily iterate on your work and immediately share the results with anybody, despite the location. They clearly communicate plans and requirements and let designers iterate together with a customer towards the common vision, without over-investing in disposable assets, and they cannot be confused with the final product because their form is drastically minimised. Microframes offer minimum effort and maximum speedMicroframes are also extremely flexible. They can be used on their own, as part of a user journey chart, documentation or even as part of a project roadmap. They serve as a cheap illustration and a tool to enhance design thinking. And guess what? You’ve been microframing for years – you were just doing it on a whiteboard. Microframes are digitised versions of the whiteboard sketches that designers use all the time when brainstorming with colleagues and clients. Unlike your whiteboard drawings, though, microframes are easy to share and optimised for speed and reusability. Get started with microframing Microframing is very intuitive. If you try to fit your ideas into a 200px x 300px container, the microframe will naturally come to life. To increase readability, consider the following: Avoid text: Replace text by blocks symbolising different levels of typographic hierarchy Use colours to represent different pieces of the interface: Separate CTAs, navigation links and blocks of text by assigning each a different background colour (preferably shades of grey) Add icons to remove confusion: Icons can clarify elements that can be easily confused with others – for example, the classic landscape icon could be used to indicate an image Skip details: You’ll have plenty of time to add them later once the concept is crystallised for higher levels of fidelity Once your basic drawings are ready, think about what needs to be added to enhance their communication value. A text description? Flows? There are no rules here. Whatever serves the purpose is good. An example of the microframe documentation used for the UXPin site redesign Microframing design language To optimise your microframing process for speed and reusability you have to create your micro design language. Think about a convention that works for you and recipients of your work, then document it. A glimpse of the microframing process while playing around with design systems libraries and symbols in UXPinJust like with a full-sized design, you should start with the foundation and gradually move to higher-level structures (if you’re interested in building a full-scale design system – I’m sharing my experience in this series of posts). Take all your text blocks and tiny patterns and turn them into symbols, nest them in your microframes and turn those into symbols as well. So is wireframing dead? Definitely not. Wireframing won’t die as long as we need ways to quickly create and share digital sketches. Creating micro-wireframes only enhances the communication and creativity of the team, without sacrificing the speed of the process. We’ve recently really fallen in love with this little deliverable. Hopefully, you’ll find it useful too. For more wireframing best practices, download UXPin’s free 100+ page Guide to Wireframing. Related articles: The 20 best wireframe tools All you need to know about mockups, wireframes, and prototypes 10 top prototyping tools View the full article

Have you started using the Flexible Box Layout module in your projects yet? Although the module has been around for some time, there have been two major barriers stopping frontend developers from using it in their projects. First, until recently the spec was in flux and there wasn't great support for it. Today, all modern browsers support Flexbox. The second barrier is that it is pretty tough to grasp the concept of Flexbox. While it is super-powerful, there are a lot of moving parts and it can be difficult to learn. But the ability to arrange page elements, and have them behave in a predictable way, across multiple screen sizes, is well worth the effort. Want to get started with flexbox? Read on!In this article, I will get you up and running with the fundamental concepts behind flexbox. Understanding these core concepts will open up a whole world of extremely flexible, easy to create layouts (especially for responsive web design). Next-generation design Flexbox is a next-generation tool to help you create layouts with CSS; whether you want to lay out a section of your website or display a grid of media elements. It enables you to easily align, centre, justify, scale and reorder elements on your page, without having to resort to nasty CSS hacks or fragile JavaScript dependencies. Flexbox can replace floats, positioning tricks, inline-block layouts and even – shudder – table display layouts. If you have ever pulled your hair out wondering why some seemingly simple layouts were difficult or even impossible in CSS, you are going to love Flexbox. Flex elements The magic of Flexbox is in the relationship between the parent 'flex container' and the children 'flex items'. In order to take full control of Flexbox, you must put aside any previous ideas of floats, positioning and clearing. This is a totally new way of laying out your page. Setting display:flex; on a parent element turns it into a flex container, and all of its immediate children will be turned into flex items. Once you have your markup set up, you can use one of the many available flex properties to create a layout. Note: any of the HTML elements can be a flex container or flex item. Any :before and :after pseudo-elements you have on your flex container will be treated as children, and therefore first-class flex items. Rows and columns The default flex-direction set to rowThere are two axes in Flexbox that control how the flex items on the page are laid out: the main axis and the cross axis. By default, Flexbox is set up so the main axis goes from left-to-right (or the opposite, for languages that read right-to-left) and the cross axis flows top-to-bottom (shown above). Before you go memorising that, note that this can – and will – all change with the flex-direction property. The main axis flipped with flex-direction:row-reverse;By default, Flexbox is set up with flex-direction: row; which means the items flow on the main axis from left-to-right, in a row. We can switch the main axis so it flows from right-to-left by using flex-direction:row-reverse (as shown above). The main axis switched from horizontal to vertical with flex-direction:column;To switch both the main axis and the cross axis, we change the layout to flex-direction:column;. This will alter the main axis and flex item flow from left-to-right to top-to-bottom, in a column (above). We can also start from the bottom and move up by flipping the main axis with flex-direction:column-reverse. Centring items One of the best things about Flexbox is that it allows you to align your content in any way you please – even vertical centring is an absolute breeze! There is often confusion surrounding Flexbox alignment, because there are three different properties that we use to modify the alignment of our flex items. One reason for this is that these properties align the items along the main and the cross axis. So instead of asking, 'how do I centre something vertically or horizontally?' you must first establish which direction your axes are pointed, and then figure out which CSS property to use to properly align and centre your flex items on them. In the next few examples, I'll be attempting to perfectly centre my items. However, you should know that each of these properties has a number of alignment options. For a full list, I recommend keeping this CSS-Tricks flexbox reference handy. The cross axis align-items:center; will centre our items along the cross axis, which in our case is top-to-bottomBy default, flex items stretch across the entire flex container along the cross axis. If we want to centre items along the cross axis, we can use the align-items property on our flex container and set it to center (shown above). In addition to stretch and center, we can also use flex-start and flex-end to anchor the items at the top and bottom respectively. Finally, we have baseline, which will align the items along the bottom (or baseline) of your text. This is extremely helpful when you are trying to align items with varying font sizes. Justifying along the main axis Justify-content:center; will centre our items along the main axisNow we have the centring working along the cross axis – top to bottom in our case – we need to get centring working across the main axis. For this, we use justify-content:center (shown above). Just like with align-items, we can also use flex-start or flex-end, as well as space-between and space-around, which will evenly divvy up the remaining space between the elements. This is super-useful when working with grid layouts that don't add up to 100 per cent of the margin and widths. Just remember, if we switch from the default flex-direction:row; to flex-direction:column;, the main axis can change from left-to-right to top-to-bottom. When we switch to column, align-items becomes the horizontal alignment while justify-content becomes the vertical alignment. Aligning multiple lines While align-items and justify-content work great when you have a single row or column of content, things get a little trickier when you're dealing with multiple lines of content as a result of using flex-wrap:wrap; on the flex container. align-content works just like justify-content, but kicks in when we have multiple lines of content. By applying align-content:center; we can ensure that the lines will anchor in the middle of the cross axis and centre their elements from there. Just like with justify-content, we can also use flex-start, flex-end, space-between and space-around. However, this time they refer to the space in-between the rows or columns of content, and not the flex items themselves. Now, with just four lines of CSS, we have a bulletproof way of vertically and horizontally centring all direct children of a flex container. Filling the space So far, everything we have learned about alignment has to do with the flex container and how it aligns its children. With align-self it is possible to override the align-items property set on the flex container by individually setting align-self to flex-start, flex-end, center, baseline or stretch. Another often misunderstood part of flexbox is how to work with grow, shrink and basis values. It's helpful to once again throw away any ideas of pixel-perfect grids and embrace that flexbox is, well, flexible. Each flex item can be assigned a flex-grow, flex-shrink and a flex-basis value. With these values we can indicate our ideal sizes, and then specify how the items should act in situations where there is extra, or not enough, space. From there, the items will just figure it out for themselves. I like to think of these properties as: flex-grow: How do I act when there is extra space available? How will the flex items divvy up the remaining space? flex-shrink: How do I act when there isn't enough room for all the flex items? Rather than overflow the container, who will give up part of themselves to make everything fit? flex-basis: Instead of setting a definite width or a height on your element, ideally what width (as a row) or height (as a column) will it be? Note that while it is possible to specify these properties individually, you will almost always be using the flex shorthand to specify the grow, shrink and basis values all at once. Check the videos at Flexbox.io for a more detailed description of the flex shorthand property. Growing and shrinking The idea is that we can set our ideal width or height with the basis value, and then when there is extra space available for the flex items, the flex-grow property will decide how much extra to take up. Similarly, when there is not enough space available, the shrink property will decide how much each element will give up (or 'shrink'). The flex-grow and flex-shrink properties are unitless, proportional values. They describe how much – in relation to all the other flex items – the item will grow or shrink. Let's say we have two flex items: video and credits. We will set the video to flex:1 1 700px; and the credits to flex:3 3 300px;. Now the parent of both of these items is the flex container, and when it is 1000px wide things work out perfectly: the video takes up its 700px and the credits take up the other 300px. What happens when the flex container is 1500px wide? We have an extra 500px to work with, so where does that go? That is where flex-grow kicks in. The video is set to 1 while credits is set to 3. That means of all the extra room, credits will take three times (375px) the amount of space the video will get (125px). Similarity, what happens when our flex container is smaller than 1000px? Let's say it's 900px: how do the video and the credits act then? Unlike with floats, we don't just break onto a new line, or scale them down with percentages. Instead, we use the flex-shrink property. Since the credits have a flex-shrink of 3 and the video has a flex-shrink of 1, this means the credits will give up three times as much space as the video. So since we need to shave off 100px from somewhere, the credits will give up 75px, while the video container will only give up 25px. Unknown navigation size Let's look at some common use cases of flexbox. If you have ever worked with a navigation in a CMS like WordPress, you'll know that it can be hard to predict how many elements will be included in your navigation. Evenly distributing the space between all the elements requires JavaScript. For example if you have three elements, each one should be take up 33.33 per cent of the width, while with five elements each one should take up 20 per cent. Let's take a look at this commonly seen code as an example: With flexbox, we can easily create this navigation, and even make it responsive, all with just a few lines of CSS. All we need to do is to set our navigation container (usually an unordered list of items) to display:flex, and then each of the flex items to flex:1 or flex-grow:1;. This will stretch the list items horizontally and fit them perfectly into the available width. The reason this works so nicely is that we set the flex items to grow 1, which means that when there is extra space left over, it will be divvied up evenly between all the items. For more on this, and to learn how to size your navigation elements differently, make sure to watch the responsive navigation tutorial available on Flexbox.io. Equal-height columns align-items:center; will centre our items along the cross axis, which in our case is top-to-bottomHave you ever wished that CSS had a height:as-high-as-the-highest-sibling property? We have all been there – we have three columns of content, all of which are different sizes (above). The content is dynamic and the site is responsive, so setting a fixed height on each one is out of the question, and a JavaScript fix isn't ideal. Earlier we learned that the default of align-items is stretch. This means the flex items will stretch to fit the parent flex container. And how is the height of the flex container defined? Almost always by the height of the tallest content box. Let's take the following markup, for example. If we render this out with floats and percentage widths, we will see the container is sized by the middle element and the other two are only as high as they need to be. With flexbox, boxes stretch to fit the flex container and all become equal heightNow, if we simply use display:flex; on the flex container, and set each element to be 33.33 per cent with the flex-basis property, immediately the flex items stretch across the entire cross axis, regardless of how much content is in them (see image above). Conclusion I hope by now you see the value in learning how to use the Flexible Box module. While it won't solve every issue you have with CSS, it's an important tool every designer and developer should know, and have in their arsenal. It has been a while since we have had anything this large come to CSS, and I'd argue it's one of the tougher parts of CSS to learn. Just remember that you pushed though learning floats, so Flexbox is totally something you can master! Must-have resources What the Flexbox?! 'What the Flexbox?!' is a free 20-video training course I've created. In the first half of the course, each video introduces a new aspect of Flexbox. I've kept these nice and short, so you can reference them later when you need to brush up on a particular part. The second half of the course dives into a real-world example, detailing how we can use Flexbox to quickly and easily solve many of the common layout problems we face. A complete guide to Flexbox Once you get the hang of Flexbox, you can put the training materials aside. However, it's helpful to keep a visual reference handy. This fantastic resource from Chris Coyier breaks down each of the 13 different Flexbox properties, showing which apply to the flex container and which apply directly to the flex items. Flexbugs Flexbox is not without fault, and like anything, there are a handful of cross-browser bugs and workarounds you should know about. Flexbugs outlines a range of known Flexbox bugs as well as offering possible fixes and workarounds. Flexbox in 5 minutes For a quick'n'easy introduction to the fundamentals of Flexbox, check out 'Flexbox in 5 minutes'. It's a step-by-step wizard that will guide you through how to create, style and change your first Flexbox-based layout. View the full article

This is heading directly into geek territory. But we are self-confessed geeks, particularly when it comes to logo design and typography. And that leads us to the meticulously regulated world of brand style manuals... A style manual, or style guide, is a set of standards for the design of documents, signage, and any other form of other brand identifier. The reason for their existence is to ensure complete uniformity in style and formatting wherever the brand is used. We've gathered 13 of the best to inspire you when you create your own brand style guide... 01. Urban Outfitters Urban Outfitters changes its logo often but has strict rules about its displayThe average branch might look as though a bunch of squatters decided to hold a jumble sale in a derelict factory, but hipster bazaar Urban Outfitters takes its visual identity very seriously, as a quick flick through its brandbook will reveal. The 42-page guide covers everything from Urban Outfitters' history and philosophy through to logo usage, typography, photography methodology and guidelines on the tone of voice to be used in communications. 02. I Love New York We're sure Milton Glaser approves of these cute treatmentsMilton Glaser's I Love New York logo is a wonderfully simple and iconic piece of design, so you might not expect there to be a 50-page set of brand guidelines attached to it. However there's more to I Love New York than Milton Glaser's logo; that's just the most memorable aspect of a campaign launched in 1977 and refreshed in 2008. The scrupulously detailed brand guidelines cover all the bases for a campaign that represents the whole state of New York and not just New York City; there's a mission statement and brand pyramid, consistency and typography guidelines, plus a whole load of thematic logo treatments and logo usage guidelines to follow. 03. NASA This beautiful reissue is available to buy nowThe National Aeronautics and Space Administration's Graphics Standards Manual was created by Danne & Blackburn in 1974 when NASA changed from its original crest-based logo to the 'worm' logotype that we are now familar with. The manual has recently been revived thanks to a Kickstarter campaign to fund its reissue. Jesse Reed and Hamish Smyth's glorious new 220-page version of the case-bound NASA document comes with 'static shielding' packaging and can be purchased over at standardsmanual.com. 04. British Rail The British Rail style guide dates back to the 1960sCertain members of the Creative Bloq team have spent hours poring over the British Rail corporate identity manual (okay, it's me) and it is easy to see why. Epic levels of obsessive behaviour abound in the guide, which dates back to 1965, and some of the pictograms are a delight. Want to own your own copy? You're in luck; after a successful Kickstarter campaign, designer Wallace Henning has created a high-specification recreation of the original manual that you can order now; find out more here. 05. Channel 4 The Channel 4 style guide is simple, clean and uncluttered for ease of useChannel 4's comprehensive style guide leaves no room for confusion on how its brand is used. The guide is 46 pages long, each of which is clean and clear, stating a single guideline per page, often accompanied by a graphic for visual reference. 06. Skype The Skype style guide lets illustration do all the talkingThe Skype style guide is brilliant for many reasons - its pages of cool illustrations being one of them. The communication network hasn't filled its guide with pages of industry jargon, it simply employs easy-to-understand explanations and graphics to get its point across. 07. Apple The Apple style guide is made up of 48 pages detailing exactly how the company's branding is to be usedOne of the biggest companies in the world, Apple has a comprehensive style guide detailing how its branding is to be used. Clean, clear and concise, this 48-page guide explains exactly how to use Apple assets - even where to apply stickers to your Smart car. 08. Adobe Adobe's style guide goes into great detail about how you can use the branding, with some strict rulesAdobe is one of the design industry's strongest brands, and protecting that cast-iron integrity is this style document. So beware - do not use the red tag logo, it is for Adobe use only. (We do love it when you're forceful, Adobe!) 09. New York City Transit Authority The images of the New York City underground standards manual are a frustrating joyWe love this collection of photos of the New York City Transit Authority Graphics Standards Manual, designed by Massimo Vignelli of Unimark International, which feature a font that looks very much like Helvetica and some great pictograms. 10. Barbican The Barbican has ultra-specific instructions for the use of its circle logoThe Barbican theatre's identity "is not just a logo. It is a design scheme composed of a number of core elements that come together to create a distinctive look and feel that makes the Barbican brand instantly recognisable". Which is why this guide is so important. Having said that, the Barbican allows a degree of creative flexibility for designers tasked with using its identity, and takes you through exactly how to achieve that. Which is nice. 11. Firefox The Mozilla Foundation's Firefox style guide will keep your fox facing the right wayMozilla has this handy description of an erroneously utilised Firefox logo: "Think of these as the equivalent of wearing your shoes on the wrong feet: they’re still shoes, they’re basically where they’re supposed to be, but it just feels wrong." This style guide will ensure you know your left from your right. 12. Macmillan Macmillan's document focuses on the charity's brand values as well as styleCancer charity Macmillan's 67-page document is comprehensive, containing identity design rules for everything from signage to infographics, plus how to use the brand's familiar green colours and which photos are best used as the image silhouettes you'll find in the charity's marketing material. 13. Boy Scouts of America No surprise that the Boy Scouts of America style document has strict guidelines for badge designDib dib dib! The quickest way to achieve your logo design badge is to follow the Boy Scouts of America's mildly militaristic manual. Just don't think of writing the scouts' tagline "Prepared. For. Life." without those all-important full-stops... Related articles: 10 commandments of logo design How to create a design style guide: 25 pro tips Speed up your web workflow with style guides View the full article

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There's no bad time to start learning how to code. It might feel like you have some catching up to do, but it'll be easy to get up to speed with the Coding Powerhouse eBook Bundle. You can get it on sale right now for 91% off the retail price. Coding languages can look intimidating at first glance if you aren't familiar with them, but you can master them as you work your way through the Coding Powerhouse eBook Bundle. This collection of nine reference guides written by experts will teach you how to start speaking the languages of app and web development, from Java and Python to Swift 3. No matter what you want to build, this bundle has a course that can help. The Coding Powerhouse eBook Bundle is valued at $324, but you can get it on sale now for 91% off the retail price. That's a saving you can't pass up if you want to up your developer skills, so grab this deal today! View the full article

In its annual National Exposure Index report, Rapid7 found 160 million computers, IoT devices and servers with open ports that should not be exposed to the public network. View the full article

Microsoft released patches on Tuesday for unsupported versions of Windows, a decision prompted by three NSA exploits that remained unaddressed from April’s ShadowBrokers leak. View the full article

The main task of a visual development environment artist working in animation is to conceptualise, design and execute a believable world for characters to live in. But the success of these environment concepts doesn't rely solely on the drafting skill level of the artist – it's the whole package that makes the final product work effectively. Visual development is simply the visual evolution from an idea to the final product. So it's crucial that the structural makeup of the artworks in development occur in this order: concept, design, technique. To think technique is the key to the success of the artwork is totally missing the mark. Here are my key tips that point towards a successful process in creating strong concepts and compositions for animation. 01. Concept art = Concept + Art Here the main character is a design need; the secondary one is a design wantConcept art is not just about the epic, or its beautiful execution. It's artwork that grows out of a design process, well rooted in an idea that supports the story. The priority of concept can be identified thus: needs and wants. What the story needs has to be conceptualised first. The artist then provide his design wants that focus and support the story. So in the image above, the need for this image is to design an Asian fairy and her magical environment. A second character is a design want, to exemplify the scale and dimension. The design choice of the secondary character creates a relational affinity and familiarity between the two. 02. Dynamic research Sketch while doing your research so you don't drown in reference materialResearch breeds authenticity in the design evolution, from concept to the final product. Similar to the old adage about knowing the rules first before one can break them, I have to learn what's real before I can design, or redesign, an object or environment. Research gives a vision of functionality. What makes it dynamic is when I start sketching and creating thumbnails while doing research. This keeps me from getting bogged down in reference material. I trust my artistic instincts when I hit a design target from reference materials, and I stop looking for more and start sketching. My approach towards design improved by doing this. 03. Think inside before outside the box An inside- and outside-the-box retelling of the Titanic storyAs visual development artists and concept designers, we're always told to think outside the box. But I believe this is only possible if the designer knows what's inside the box. And not only to know what's inside, but also understand how those objects inside the box work. I've learned over the years not to go outside the box if what's inside it still works. At the end of the day, it's how the story/idea could be told more effectively that influences your design choices, not whether it's a safe or 'out there' idea. These quick sketches give me two spring boards on retelling the story of the Titanic. The first image is the inside-the-box translation, with a literal narrative of its present underwater situation. Alternatively, I can go for the outside-the-box option by creating a juxtaposed imagery of its supposed description and its present-day situation, encapsulated in a classic ship-in-a-bottle setting. 04. Design loosely Design with your arm but draw with your wristOne key discipline I've learned over the years is to design with my arm and draw with my wrist. There's a dynamic balance of freedom and control in my wrist, and a dynamic balance of freedom and control in finding the right design language when the arm is moving loosely. When I become lazy and miss the arm out, the artwork tends to be static and lifeless. These images are from a 90-minute demo process in a live workshop. The 18x24-inch canvas gave me a good amount of arm flexibility. Then I took a hi-res iPhone photo and transferred the file into Photoshop for value and colour. 05. Understanding composition Perspective, staging and value are key to good compositionGetting to grips with composition is vital to the structural strength of design. Composition is not just a standalone term that simply describes an arrangement of forms and shapes. Instead, realise that composition is perspective, value, staging and colour arranged harmoniously, to tell the story or idea more efficiently. Perspective is the placement of the camera and what type of lens is being used. Value translates the application of lighting. Staging is the arrangement of different elements in the canvas using the combination of shapes, sizes and overlaps, creating depth, dimension and balance. Colour is the harmony of palettes and temperatures. 06. Visual aesthetics using perspective A high-angle shot suggests invincibility, strength, confidence and leadership, an eye-level shot gives a perception of normality, neutrality, and is relatable, and a low-angle shot suggests vulnerability, weakness, danger and loneliness.Perspective has a strong psychological effect on viewers' perception. Below, various camera placements of the same subject and environment give different viewer perceptions. The viewpoint is the audience's eyes. 07. The application of visual aesthetics My original idea for this image was to place the male subject at the same distance from the camera, but staged right below the lady on the bridge. Yet this gave the impression he'd already reached his destination. So instead I moved him just a little bit to the left. It gave a hint that he's not completed his journey, but he's about to reach his destination very soon. It also helped to create a perception of movement in the painting.Visual aesthetics is the study of how compositional elements (value, perspective, staging and colour) interact and the audience's reactions to them. It's not enough to understand composition and expect to be effective visual storytellers. Rather, it's important to understand perception – how the audience reacts to composition. Improper use of composition will result in an audience's selective perception. Selective perception results in selective context. And selective context means the audience will have different interpretations of the story/idea. With the proper use of visual aesthetics, the compositional choices become intentional and directional towards intended perception. When the artist controls selective seeing, the visual message becomes subjective. Subjective means controlled perception. Controlled perception results in controlled context, and this means the audience will have a singular interpretation of the story idea. 08. Visual aesthetics using value Your value composition will determine the success of your colour compositionValue is the lightness or darkness of a colour. Every colour has a corresponding value and that lightness or darkness depends on the amount of lighting applied to the colour. The three important rules of value are: It controls focal points – usually the brightest area, the highest contrast, or when a predominant value encloses an opposite value; Value gives the illusion of three-dimensional form, when it shows the surface being hit by light and the surface under the shadows; Value creates the illusion of depth (altering the range of dark and light creates distance). The perception of mood or emotion of the story being told in the canvas is established by the applied lighting translated into values. The success of colour composition depends on the value composition. Next page: more concept tips 09. Visual aesthetics using staging Group and overlap shapes to infer cohesion in your compositionCombining different shapes and sizes together in a shot creates the perception of intensity. Intentional overlap in images also develops cohesion and relationships among characters and environment. The higher the contrast between sizes should result in greater intensity. The same goes with shapes. 10. Why the readability of shapes and form is key Make sure your shapes are readable by checking that they work as silhouettesFrom the overall form to the least visible prop, every shape has to be readable. Even in a busy setup, the effectiveness of information is not dependent on the details, but the readability of shapes. Even if those shapes were stripped of details to the point of silhouette, they will still be easily identifiable. World War II pilots were trained to identify specific enemy ships at sea by reading their silhouettes. So I would say your designs must be exaggerated and simplified, with clear silhouettes working harmoniously. 11. Balance in a scene The example above is balanced, with the closer tram on the left equalled by the lamp post and more-distant tramImagine the subject as the pivot of a horizontal lever. Now remember, all other elements that will be drawn on the canvas will have "weights" that are based on their shapes, sizes and value. Balance will be attained if these elements are staged on both sides of the pivot, without having the lever tilt on either side. 12. Less is more Simplify details to leave room for the viewer's imaginationIn designing what's supposed to be repetitive patterns, such as bricks on a wall, or organic patterns like rough textures on rocks, always apply the economy of lines and simplify without the compromise of information. This can be done through the less-is-more approach. This is either the simplification or purposeful removal of details on some sections. By doing this, the designer leaves room for the viewer's imagination to fill in the missing details. 13. Don't become dependent on photos and texture brushes Hand-drawn textures will give your work extra charmThis tip doesn't intend, in any way, to look down or undermine the direct use of photos in the digital painting process. If it's needed in production, then go for it. But the heavy reliance and dependency on photos should not become a designer's priority. Your goal is to learn how to create simplified textural patterns and concentrate on the design essentials first and foremost. There's a charm added when hand-drawn textures are applied. 14. Adding some history and story The statues indicate that penguins inhabit this islandResearch plays a big part in this process. The believability of a world doesn't come from a literal application of a photo. The designer has to find a way to design the history and story of an environment that personifies and supports the personalities in it. So in the image above, we're creating island that's inhabited by penguins. Just designing from a photo wouldn't be convincing – what makes it believable is applied history and story. Adding the two penguin monuments made sense in establishing the penguin world. 15. Lasso painting This is the technique I use when I'm pressed for time. I coined the name from the Lasso selection tool in Photoshop. Its simplicity and ease of use enable me to drop the values, carry out speedy colourisation and paint over highlighted surfaces. With practise, this process is very effective for a quick turnaround of art. At this point the heavy lifting has been done and all I need to do is a bit more painting over the image to create a refined, final version if needed. Thumbnail and line work I create a very quick thumbnail idea for composition and direction, then lay down the line work. The column and the character are on two separate layers. Then I drop and separate the local values using the Lasso tool. I also use a little bit of Airbrush to soften the edges. Duplicating the layer Next I duplicate the desired layer to be colourised, then select it. I pick the desired brush and then from the Brush Mode drop-down menu, I select Color (and I make sure to bring it back to Normal mode after this step). Keeping lighting consistent Using the Lasso tool, I select the cast shadowed surfaces. I soften the mask for the columns but keep it sharp on the character. Consistency in lighting is the key for this step. I create separate new layers for shadowed and highlighted surfaces and I increase the cool tone, then darken the layer with the shadowed surface. I increase the warm tones and contrast on the layer using highlighted surfaces. This article originally appeared in ImagineFX issue 145; buy it here! Related articles: Just what is concept art? 4 steps to creating concept art with extra depth 15 concept art skills to power up your illustration View the full article

VR is fast becoming the hot topic in a lot of industries, no less our own, as we discover how to utilise this tool to actually stand in worlds you can create yourself. This issue 3D World has a huge 14-page guide to how virtual reality is sparking innovative projects in games, animation and design. There's also the best VFX secrets behind Transformers: The Last Knight and the challenges MPC faced when unleashing a more organic-looking Xenomorph in Ridley Scott’s Alien: Covenant. There are some amazing tips and techniques to be found this issue, including working with fur to create amazing creatures, making an explosion using FumeFX and how to make convincing CG fabric in just 12 steps. Subscribe to 3D World today Readers can dig into a fantastic video course from Pluralsite on Designing Motion Controller Experiences in Unreal. In this great video series you’ll learn how to set up a VR character with motion controllers, interact with objects and create a teleport system. Also in 3D World 223… Arnold 5 and the Stardust plug-in for After Effects reviewed The new features of Unreal Engine 4.16 revealed Explore Element 3D with a look at the development of Valley of the Kith We explore how game graphics are quickly catching up with film See the best art from around the CG community View the full article

How do slow-performing web applications impact user experience for people with disabilities? Are there aspects of the web rendering process that create barriers when you’re relying on a screen reader? In this talk from Generate New York earlier this year, Marcy Sutton takes a look at web performance through an accessibility lens, and discusses how, by studying the limitations of browsers with assistive technologies and establishing developer best practices, we can we make faster, more accessible experiences for our users. If you want to maximise your reach then both performance and accessibility should be on your agenda, and Marcy's talk will arm your for upping your game on this score, as she looks at progressive enhancement in detail with server- and client-rendered apps built with Angular 2, React or Ember FastBoot, and always remembering our good accessibility friend: static HTML. For more essential performance advice, head to Generate London on 20-22 September, when Patrick Hamann will discuss his latest performance research. Léonie Watson, meanwhile, will explain how JavaScript and accessibility can work together, looking at accessibility mechanics in the browser as well as the new Accessibility Object Model (AOM) JavaScript API. At her talk at Generate London Léonie Watson will explain how to use JavaScript so you only blow the bloody doors off There's plenty more to discover at Generate London, including talks Aaron Gustafson, Seb Lee-Delisle, Ally Long and Jaime Levy, so don't miss out and get your ticket today! View the full article

Maybe you’re right at the start of your graphic design career or studies. Or maybe you’ve been doing it for a few years, but still feel there are some gaps in your education. Either way, it’s always good to have some good resources to hand, setting down the fundamental principles and basic terminology we all work by. In this post, we round up the best posts for walking you through what you need to know as a graphic designer, plus a few pointers about where you can go further. Make sure you bookmark this page so you can come back to it again and again. 01. Typography rules and terms every designer must know Learn all the font-related terminology you need in this comprehensive guide Typography is, quite simply, the art and technique of arranging type. It's central to the skills of a designer and is about much more than making the words legible. This article explains the fundamental concepts and key terminology of typography. 02. Key terms every graphic designer should know Graphic design, like any profession, is littered with jargon and phrases you might not be familiar with. This article by Rob Carney outlines some of the key terms you should know, with a brief explanation – in words you can understand – plus info on where to go to learn more. 03. 15 printing terms every designer needs to know The world of print design can be a confusing one for those coming from other design disciplines, not least because of all the unfamiliar printing terms and concepts that have evolved gradually over hundreds of years along with the art and science of printing. Confused by printing terms such as pigments, RIPs, and solvents? Keep this jargon-busting glossary close by. 04. 15 design terms you're probably getting wrong Which terms do you get wrong?Any designer will tell you that the industry is teeming with terms every creative needs to know if they're going to be taken seriously by their peers and clients. Compiled by Creative Market, this infographic runs through some of the most frequently mistaken design-speak. 05. The designer's guide to the Golden Ratio Science meets art in the Golden RatioThere's a common mathematical ratio found in nature that can be used to create pleasing, natural looking compositions in your design work. This article explains what it is and how you can use it, and points to some great resources for further inspiration and study. 06. The designer's guide to grid theory An incisive explanation of grid theory from Sam Hampton-SmithGrids are like the glue that holds a design together, so whether you work in web or print, you need to understand grid theory. This article by Sam Hampton-Smith explains all you need to know. 07. How to create a design style guide Hit the right tone with your style guideA design style guide shouldn't read like the work of a control freak, but nor should it be vague and ambiguous. This article by Paul Wyatt explains how to strike the right balance. 08. How to create balanced page layouts Top tips for balanced page layoutsA good page composition should be both pleasing to the eye, but also communicate those key messages clearly to the intended audience. This article collects together some top tips to help you ensure your page layouts have balance. 09. How to design a poster If you want to know how to design a poster, then you can do no better than turn to the experts. In this post, three top illustrators and designers to offer tips on how you can design better posters. 10. How to design a brochure It’s one of the most common tasks given to jobbing graphic designers. But how do you make a brochure that really dazzles? These top tips will get you started. 11. How to master colour theory Sam Hampton-Smith describes the three primary component parts that help us define a colourThis article by Sam Hampton-Smith cuts through the jargon to explain the basic concepts and terminology of colour theory, in words that you can understand. Topics include how colour is formed, colour systems and the colour wheel. 12. Digital colour mixing explained Mixing colours digitally is not the same as mixing them physically. This article explains what the difference between the two is and how to go about it in practice. 13. How to choose a colour scheme for your logo design Graphic designers need to harness the power of colour psychology to bring resonance to their designs – and in no field is this more important than that of logo design. In this post, Martin Christie of Logo Design London explains what you need to know. 14. 10 rules for better editorial design The fundamental skills required to be a good editorial designer are much the same as any form of graphic design, but as with any specialised area there are always unique challenges and general rules that apply. In this post, Luke O'Neill offers 10 rules of thumb for better editorial design. 15. How to design a business card A well-designed business card can make you stand out from the crowd. Here are some top tips from Sam Hampton-Smith on how to make one that leaves a lasting impression. 16. How to design a book The Book Designers cover the basics of flowing in and formatting text for a book layoutThe layout of the pages inside a book is just as important as its cover design. After all, the pages are what people will experience as they read the book. This tutorial from The Book Designers provides a basic step-by-step process for designing and laying out a book that's driven by its text. 17. Free ebooks for designers There's a growing movement towards free and freemium content on the web, and the quality of the content is often on a par with the books you'd part cash for. Compiled by Sam Hampton-Smith, here are 22 of the best ebooks for learning design to download today. 18. The best graphic design podcasts For those who've always wished they could turn on their radio and listen to people chatting about design, this article by Joe Nicklo lists 12 informative, fun, and thought-provoking podcasts that every designer should be listening (and subscribing) to. 19. Photoshop secrets to improve your skills Once you've overcome the beginners' learning curve, there are some real gems hidden inside Photoshop that can help you speed up your work and get more out for less effort. This article rounds up 30 of the best Photoshop secrets to help sharpen your skills and improve your productivity. 20. How to create the perfect infographic Follow these 10 steps to create beautiful infographics The modern day infographic has taken on a slightly different form to that of its predecessors. However, the fundamentals remain the same, explain JESS3's Tiffany Farrant-Gonzalez and Jarred Romley in this article, as they take you through 10 key steps in the creation of informative and beautiful infographics. View the full article

Microsoft patched 95 vulnerabilities today, including two under attack. View the full article

Citing an elevated risk for destructive attacks, Microsoft today included patches for vulnerabilities in Windows XP among its Patch Tuesday updates. View the full article

Adobe fixed 21 vulnerabilities across four products - Flash, Shockwave Player, Captivate, and Adobe Digital Editions - on Tuesday. View the full article

Adobe Stock has launched a way to find better images for your design project with its freshly updated visual search tools and aesthetic filters. Unveiled today, Adobe Stock’s new 'Depth of Field' and 'Vivid Colour' filters help you find the right image based on its looks rather than its keywords. Claude Alexandre, vice president of Adobe Stock, said Adobe had recognised designers’ need for images with high visual impact and for an easy way to find images. He said that the new advanced search "will help creatives solve their most complex visual and design challenges". The new tools update Adobe Stock’s existing visual search, which debuted in November 2016. Google Images, iStock and Shutterstock also offer visual searches – the difference is that Adobe now offers more advanced ways to find pictures that suit the look of your project, whereas most services just offer basic filters such as colour, size, image type and orientation. Review: Photoshop CC 2017To use Adobe Stock visual search, click on the camera icon or drag and drop a picture into the search bar, and Adobe's Sensei technology will find images that are similar. In the example Adobe showed us, uploading a picture of two glasses of wine produced multiple images of two glasses of wine. The results with the Vivid Colour filter upSliding the ‘Depth of Field’ filter right up added people to the scene, and sliding it down focused our attention on the wine. Sliding the ‘Vivid Colour’ filter up revealed images that were naturally colourful, while sliding it down showed pictures with muted colour palettes. Typing ‘sunset’ into the text bar uncovered glasses of wine with a setting sun behind. New filters will be added in the near future, Adobe said, with a number currently being tested. Facial recognition isn’t currently a feature of the visual search, but Adobe said it's in the pipeline. Expanded collection Adobe Stock has added high quality images from StocksyAs well as this new search technology, Adobe Stock has expanded its collection of images. A premium collection from Stocksy – a stock image service founded by photographers who have rejected traditional stock imagery – brings curated, beautiful images that stand out from the crowd. Alongside this, a new editorial collection adds 12 million images from the Reuters archive, with new images set to be added as they are taken. More images from USA Today Sports will be added to the editorial collection soon. Access stock straight from CC and PowerPoint Adobe Stock's new plugin for PowerPointThe Adobe Stock library and services will now be accessible from within Microsoft PowerPoint, thanks to a new plugin, as well as from Adobe’s Creative Cloud programs such as Indesign CC and Photoshop CC. This follows the announcement last week of the free Craft Stock tool from InVision, which enables you to search iStock and Getty Images libraries from within Photoshop and Sketch. Related articles: Review: Photoshop CC 2017 Build your first in-house photo studio The 16 best websites to download stock art View the full article

http://thehackernews.com/2017/06/electric-power-grid-malware.html … View the full article

Join Pixologic for an exclusive livesteam event TODAY (13 June) from 12pm PDT. In it, you'll hear all about the latest version, get tips from the creators, and watch handy ZBrush demos. Plus you’ll be able to chat with the Pixologic team, who will also be giving away prizes! Tune in below. View the full article

Apple's modern hardware has long been a staple of design colleges and studios around the world. At WWDC17, Apple announced iOS 11, which incorporates several features seen on macOS, brining the company's mobile and desktop operating systems closer than ever. The latest iPad Pro may not run Apple's full-fat OS but file sharing is easier than ever, and Adobe Creative Cloud offers 'light' versions or equivalents of its most popular design software. Add to that quick and easy synchronisation with your desktop design apps, and the iPad Pro is closer to a laptop replacement than ever. But it's still not enough for some, who want the ability to use full versions of their desktop creative software on the move. That's where the Microsoft Surface Book, and other convertible and hybrid Windows 10 laptops, score heavily. So, what if Apple decided to build a true Surface Book rival? In other words, a MacBook Pro that had a detachable screen/lid that effectively became an iPad Pro when separated from the base? What would it look like, what would its specs be, and what would it be called? Allow Creative Bloq to be your crystal ball… Microsoft's Surface Book is a true portable workstation, with serious graphics power, but is also a tabletAt WWDC17, Apple announced iOS 11, which incorporates several features seen on macOS, making the company's mobile and desktop operating systems more similar to one another than ever. The latest iPad Pro may not run Apple's full-fat OS but file sharing is easier than ever, and Adobe Creative Cloud offers 'light' versions or equivalents of its most popular design software. Add to that quick and easy synchronisation with your desktop design apps, and the iPad Pro is closer to a laptop replacement than ever. But it's still not enough for some, who want the ability to use full versions of their desktop creative software on the move. That's where the Surface Book, and other convertible and hybrid Windows 10 laptops, score heavily. So, what if Apple decided to build a true Surface Book rival? In other words, a MacBook Pro that had a detachable screen/lid that effectively became an iPad Pro when separated from the base? What would it look like, what would its specs be, and what would it be called? Allow Creative Bloq to be your crystal ball… Let's get this over with first. "Pointless flight of fancy!" I hear you cry. Well, as Apple filed a patent for a detachable screen laptop in 2013, and with macOS and iOS converging further with every version release, we feel that this is the right time to be talking about a MacBook-iPad Pro hybrid, which we'll call the MacPad Pro. Our mockup of a 'MacPad Pro' – a detachable iPad/MacBook mashupDesign matters Jony Ive's Apple will not allow for any excess size and weight, so we imagine the MacPad Pro's target weight would be some distance below the somewhat porky 3.3lbs (1.52kg) Surface Book. The 12.9-inch version of the iPad Pro weighs around 1.5lbs (680g), so we imagine that Apple would be aiming for a sub-three pound (1.36kg) heft for its two-in-one. The design language would be more MacBook than iPad – crisp, squared-off lines and a full aluminium casing. The now-familiar silver, space grey, gold and rose gold, would be the order of the day. Closed, the MacPad Pro would closely resemble a MacBookThe detachable screen/iPad presents many design issues, one being the orientation of the Apple  symbol on the rear. We'd love to see some sort of e-ink logo that automatically rotates from MacBook-style landscape orientation to iPad-style portrait once detached from the base, but it is more reasonable to expect that Apple would favour the logo's laptop orientation. Another problem is the hinge. Tablets are heavier than screens, so something clever is required in the hinge department to stop your MacPad toppling over in laptop mode. Microsoft's solution for the Surface Book is ingenious but ugly, and Apple has no truck with the ungainly. Plus, Apple's obsession with the light and slender means it would NEVER counterweight one of its products. However, iPads are extremely light, so perhaps with some clever magnetic hinges and connectors (the return of Magsafe, perhaps, to charge the 'iPad' from the base?) and a tilt-stop to ensure the angle is not too perilous, the dreaded topple will be avoided. A hinge lock will have to be included, and this could see the return of the eject button next to the function keys (not seen since the death of the optical drive) to release the screen/iPad. macOS's Launchpad already closely resembles the iOS home screenSpec foresight We're not going to go mad picking apart what is possible and impossible, likely or unlikely, here. This is a fantastical product mockup we're talking about, and technological progress ensures unforeseen possibilities in terms of screen tech, processors, interface and beyond. What we'll do is draw up a wish list based on what Apple produces now or has plans for. With a 13-inch MacBook Pro and 12.9-inch iPad Pro in existence, it is a no-brainer that the MacPad Pro would be available in something around that size – perhaps the overall unit would be a touch larger than the MacBook Pro 13-inch due to the need for a larger screen bezel to house the removable iPad. The iPad Pro 12.9 (2017) has a 2732x2048 resolution, 264 ppi touchscreen in a 4:3 ratio, which is squarer than the latest MacBook Pro's 16x10 ratio screen, but would allow the MacPad Pro to contain a much larger trackpad (more on that later) or even a recess for the Apple Pencil in the base above the function keys. The latest iPad Pro running iOS 11 has great laptop skills, but is not powerful enough for some pro designers Speaking of function keys, they will be present on the base station's keyboard rather than the Touch Bar – with this being Apple's first touchscreen 'laptop', the Touch Bar would be superfluous. Again, this is not entirely inconsistent – Apple still produces MacBook Pros without a Touch Bar. Press the eject button and voila: an iPad ProThe detachable touchscreen would contain its own battery, A10X chip, flash storage, and would run iOS – to all intents and purposes, it would be just like an iPad Pro 12.9 when detached from the base station. Meanwhile, the base station would look like the keyboard half of a 2016 MacBook Pro (non Touch Bar version). It would contain a larger, laptop-sized battery which could share its charge with the docked touchscreen, and it too will have a processor to power the latest macOS in laptop mode, as the A10X will not be adequate for processor-hungry professional design applications. But here is where the first fudge will have to appear (not literally). The processors will not necessarily have to work in tandem, but the idea that an Intel chip and ARM chip could reside in the same computer is fanciful so some compromise will have to be made. Could a separate GPU and RAM expansion live in the base? Not as things stand – Apple's mobile chipset contains its own graphics capabilities built-in. How about a second A10X processor in the base unit, working in tandem with the one in the lid to create a multiprocessor setup? This has no precedent with Apple machines and would require fantasy-level changes in the way Apple constructs its logic board. It's beginning to look like a MacPad Pro will either have to be underpowered as a pro laptop (think more like standard MacBook, which is still comfortably able to run Adobe CC software, for example) or Apple will require a new chipset for it to become reality… Neither of these are fatal blows to our imagined Mac mashup, so let's plough on. Next up is the camera positioning. The front-facing camera would have to be situated on the top-right of the outer case of the lid (like on an iPad), with the Facetime camera top-centre (like on a MacBook). This means landscape orientation when Facetiming in tablet mode, but this is a price worth paying – it will be more useful to Facetime in laptop mode anyway. The MacPad Pro would be compatible with Apple Pencil, naturally, but in both tablet and laptop modes. Here, Apple could come up with something really interesting by introducing Apple Pencil compatibility to not only the touchscreen but the trackpad. The existing MacBook Pro has a huge Force Touch trackpad and there is space on the MacPad Pro for an even larger one, so Pencil support on the MacPad Pro would in effect create a built-in miniature graphics tablet – a unique feature in the segment which could reaffirm Apple's place as a serious design player. Has our concept been shut down due to existing limitations?Appy feat Too good to be true, so far? Well here’s the comedown. The major issue with our MacPad Pro concept is that most creative software has a separate desktop and mobile app. These two apps will therefore have to both exist on the MacPad, which is at best undesirable and at worst criminally compromised. Our way of working around it is to have two operating systems on the MacPad, macOS and iOS, with iOS sitting dormant in the background until the lid is detached, at which point macOS enters hibernation and iOS wakes. Various cloud sync services from Adobe, Apple, Microsoft and more will ensure that your work is backed up and can be accessed from each OS, so this is not the issue. For example, there is nothing to stop you creating an illustration in Adobe Illustrator CC, which syncs in the background to Creative Cloud, then detaching the MacPad's lid and continuing your project in the Adobe Illustrator Draw iOS app (albeit with the more limited functionality that app provides). But, as seen in the Microsoft Surface, having separate apps for desktop and tablet is clumsy – and that is against the backdrop of the effective-if-not-perfect Windows 10 OS, which was designed from the outset to work with various inputs from mouse to touchscreen. And while Adobe's desktop and mobile apps integrate relatively well, most applications do not, or require workarounds and patience. So while a MacPad running dual operating systems is theoretically possible, it is extremely unlikely. The MacPad Pro will probably have to wait until the point that macOS and iOS have converged completely. But a MacBook/iPad hybrid will never happen, you may say. Cynics will say that Apple's product line-up is the way it is because it wants you to own an iPad and a MacBook Pro, so it wouldn't create a product that negates the need for either. Tim Cook himself has said Apple won't make one. But Apple also said it wouldn't make a large iPhone to compete with Android phablets, then the iPhone 6 Plus appeared. And with tablet sales declining and 'detachables' showing strong growth, Cook may have to perform a swift U-turn and dig out that 2013 patent. Mockup: Rob Redman Related articles: Apple unveils new iMac Pro for design professionals Apple brings the iPad Pro closer to the MacBook replacement you need Apple patent transforms iPhone into a MacBook View the full article

When it comes to getting a product out there or building awareness for your brand identity, a carefully crafted, well-designed email newsletter can be invaluable. Here are some brands that managed to create email newsletter designs that don’t have recipients reaching for the delete key. 01. Warby Parker Warby Parker uses a different type of model to show off its eyewearSee the Warby Parker email in actionWarby Parker is known for its sunglasses. Like any fashion retailer, its newsletter design focuses on photography, showing models sporting fashionable eyewear. However, in this instance, Warby subverts this trend by introducing a new type of model. The newsletter deliberately uses the company’s typical framework – a templated two-column grid – in order to play off users’ expectations and cause a double take, a good-natured chuckle, and guaranteed deeper engagement. We’d be curious to hear whether the ‘See more dogs’ button got more clicks than ‘See more sunglasses’. We found the former puzzling and intriguing in all the right ways. And if you’re thinking it’s a distraction from the main CTA (i.e. BUY STUFF), think again: it links to the @WarbyBarker Instagram account, run by Warby Parker as a genius way to show up in your feed twice as often. 02. Harry’s Five O’Clock News The GIF game is strong on Harry's email newsletter design See the email in action and inspect the code Harry's, one of several – ahem – cheeky (give me the points) shaving companies you've probably heard of, here with a digest from its blog: The Five O'Clock. The GIF game is simple and strong, and not just in the eye-catching hero image. The sound wave animation in the playlist section is a nice, subtle bit of attention to detail that keeps us engaged with every little part of this email newsletter. Mobile collapses this to a single-column layout while managing to preserve some of the depth of field via the interplay of images over offset grey backgrounds. 03. Uber Pretty much everything in this design is a GIFInspect the codeUber has long stood out for having a versatile set of consistent base templates for emails heading to both customers and drivers. That doesn’t mean it isn’t taking exciting chances – for example with this fantastic app announcement campaign. Pretty much everything in the design is a GIF, but they’re all so seamlessly integrated, it feels like magic. Everything in this email is geared toward showing off new features and giving a preview of how the Uber app looks, functions and feels. The use of brand web fonts makes the email feel consistent with the app and web experience, all of which helps build familiarity and comfort with the changes that have been made, before you’ve even tried the app. Naturally, it all looks just as good on mobile, and there’s some really good CSS wizardry that changes the CTA button to a link to open the app (you know, since you’re already on your phone). A super-smart application of responsive email design. 04. The Beat by Premium Beat The Beat features some great HTML typography See the email in action and inspect the code Right off the bat, let’s talk about that killer hero image. Not the image itself but the excellent HTML typography and the real button superimposed on that image. We’ll take this over image-based text any day of the week. It allows so much more control over how your email comes across in different contexts. All of that copy adapts nicely in the mobile-responsive view, and even if a subscriber has their images turned off, the layout and typography still preserve some semblance of dignity. The sections in this email feel really neatly ordered and separated, and the content mix is diverse and well-targeted to individuals who are familiar with the web experience. 05. Duolingo Duolingo's newsletter design makes learning a new language look fun See the email in action and inspect the code These guys... am I right? We love the way this email communicates that learning a foreign language could actually be really fun. This email announces the new Duolingo mobile app, and the hero image gives you a quick snapshot into how the app looks and feels, demystifying how the whole thing might work for any subscribers who have a hard time visualising themselves using it. ‘Click a flag to start learning’ feels so easy, and while the grid of language options feels aspirational without being overwhelming; the real message here is that whatever language you’re interested in, Duolingo’s got it. 06. Airbnb Airbnb pushes the boundaries of tech to see what gets users engaged See the email in action and inspect the code Airbnb has over 70 million users across hundreds of devices. At that size you can’t afford to push wild new code to your whole audience. What you can do is push the boundaries of the existing technology to see what gets users engaged. “How do you tell your story when you have five seconds of attention? That’s the idea behind this email,” says Lucas Chevillard, engagement marketing manager. “We believe that Airbnb can bring you on a great journey no matter how far you travel – and we have the right place for every guest.” This email was also the first to use Airbnb’s unique Design Language System. Search bars in email aren’t currently mainstream tech, though some experimentation with forms in email is happening. In this email, it’s just an image that links to the search page. Airbnb has one tiny toe in a dark pattern with this bit of trickery not being quite what it says it is, but we give it the green flag because ultimately it gets the customer moving right where they intend. Bonus fun fact: the picture of the family playing is a host that Chevillard stayed with in Tokyo. 07. Trello Whimsical porthole illustrations accompany each article See the email in action and inspect the code If you know Trello, then you know its emails (and the blog they link to) are all about improving teams on and off its task boards. There’s some great visual narrative tie-in going on between the building block dividers and the consistently whimsical porthole illustrations accompanying each piece of content. The descriptions of each piece are succinct and enticing – easy to scan, just enough information to let you know if you’re going to be interested in one of these posts. It’s like window shopping for great content. 08. MailChimp MailChimp nails the long read in its marketing email See the email in action and inspect the code Everybody’s favourite podcast commercial – we mean email service – really nails this long read. There’s a strong correlation between the value of the content you’re providing readers and the time they’ll be willing to invest, and this email has everything a long read needs to in order to pass that test. The header offers a clear value proposition (you’ll learn some stuff about how to take your copy game to the next level – sounds valuable!), it’s highly scannable so folks on the go can still get a sense of whether the piece is for them, and the layout is simple and familiar – super familiar if you read MailChimp’s blog – which gets out of the way of the content. 09. Nest Pulsing beacons around the featured products lead the reader to more information See the email in action and inspect the code Nest is something of a thought leader in Wi-Fi-enabled home gadgetry, and this email is no less forward-thinking. Like a siren of the sea, the pulsing beacons around the featured products are powerful enough to entice you to click on them, but subtle enough not to go overboard. Click on one and instead of directing you to a specific landing page, information about the product pops up in the email itself. This is particularly useful when trying to engage customers with multiple products. “The first draft of this email featured a card in the middle of the screen, which explained how to interact with the email, but it was not intuitive enough,” says Eric Lepetit, email engineering manager. “Ultimately, I found some inspiration in a Bobbi Brown email coded by Rebelmail, and used the pulsing buttons instead.” There’s also a 1x static fallback version in the code that deploys to email clients like Outlook that can’t handle the tech. In the mobile version of the email, those pulsing ‘+’s turn into grey pulsing ‘x’s to close/fold the card. It isn’t a new button, but the same asset repositioned and rotated with CSS3. “It saves a lot of extra code to achieve that closing functionality, compared to using a new asset and additional checkboxes,” adds Lepetit. 10. Recurly Recurly tempts readers to its blog with one interesting statistic, engagingly visualised See the email in action and inspect the code Whereas MailChimp’s long read newsletter seeks to provide users with a full piece of content in the email, Recurly hopes to whet the appetite for a full article on its website with one simple pull-stat, prominently rendered and engagingly visualised. But the real secret weapon in this email is the word ‘you’. Recurly offers solutions for handling automatic subscription payments, so while you might have yawned when you scanned this one, its customers probably care quite a lot about reducing churn. Placing the subscriber's business at the centre of the significance helps this research feel like actionable data worth digging into deeper. The interactive research report that the CTA takes you to is full of similarly digestible, meaningful big-picture data, which is key. You gotta follow an email like this with the goods! 11. InVision InVision breaks open the whole toolbox in this post-event email See the invitation email in action and inspect the code For this post-event email following the glitter bomb-inspired invitation in the link above, instead of a plain text message with a link to a photo album, InVision took a chance to showcase some of the progressive enchantments of email development. InVision breaks open the whole toolbox here, with an interactive carousel module, CSS animations, Google web fonts and hover effects. The degree of functionality in the email alone made us forget for a second that we weren’t simply clicking around a really beautiful landing page. That’s the kind of design delight we’re junkies for. All other bells and whistles aside, it’s the smart carousel execution that really makes the campaign stand out. It’s a great example of cool tech put toward the concrete goal of customer engagement (‘Oooh, I wonder if I made it into any of these photos?!’), encouraging some solid social sharing if you were at the event, and some serious FOMO reactions if you weren’t. 12. The Gig List The Gig List rounds up freelance opportunities from around the webInspect the codeAnd Co offers tools for freelancers, and The Gig List is its weekly email of freelance opportunities from around the web. The tone is superbly snarky, poking some good-natured fun at pretty much every company and job posting listed, and at you for maybe fitting any one of these roles. The approach is carefully pitched, though, and never tips over the line. We love the simplicity of the nearly all rich-text format, which keeps the content safe across pretty much any email client, and makes for a quick scan. There’s always a little pitch for And Co nestled into the list somewhere, which is well earned after curating such a carefully targeted email, and unlikely to annoy, especially if you’re reading this email for the jokes (a totally valid reason to do anything!). 13. Spotify Spotify's newsletter design is colourful, inviting and relevant See the email in action and inspect the code Looking for a new way to connect with customers at the end of the year, many companies showcase what was achieved in the past 12 months. These recap digest emails are a good way to show usage and growth, but recently Spotify took this concept a step further by focusing on the individual’s personal listening stats, tying them specifically to how they have used the service in the past month and reminding them of good tunes. “Deeply personalised monthly summary emails are a huge trend. Tons of customers are getting these emails, but Spotify’s personalisation makes it feel like it’s one-to-one,” notes Chad White, research director at email analytics firm Litmus. This beautiful email is the perfect excuse to pop up in a customer’s inbox 12 times a year. The no-fuss, text-first newsletter design is colourful, inviting and relevant. It’s a good bet you’re going to have an ‘Oh yeah – that song!’ moment while scanning this email, and click through for a quick listen. 14. Sprout Social The Sprout Social email newsletter design opens with a long GIF See the email in action and inspect the code The Sprout Social email newsletter design features a long animated GIF at the top. This used to be a bit of a gamble in emails for the simple fact of load time, and while that might affect some, Sprout Social’s demographic of social media wizards probably have that good-good internet hookup. We love the long GIF, as it offers a chance to tell a visual story right at the top of an email, and this little flirt session between Instagram and Sprout’s new scheduling engine is pitch-perfect. This email is cleverly prepared to target a couple different potential responses to this new feature: the CTA button is strategically placed before the tutorial for the subscribers who are already stoked about this new feature and are ready to start messing around with it. For subscribers needing a bit more explanation before they jump in, the tutorial’s alternating two-column layout provides a visually pleasing and easy-to-follow walkthrough. No subscriber left behind! 15. Casper Casper brings humour to its cart abandonment message See the email in action and inspect the code Cart abandonment emails are becoming a necessity for e-commerce. With more sales happening online, it’s important for retail brands to capture potential sales. A timely triggered email with personalised imagery and messaging can lead to high CTRs and conversions. This campaign from Casper is doing everything right. Clean design, killer icon, clever copy (as in ‘wish I’d thought of it’ levels of awesome), and actionable CTAs. There are two buttons: one for returning to the cart, and one for reading reviews. Priority one, of course, is getting the customer back to the cart to check out. Customers abandon carts for a variety of reasons, and this first button is aimed at customers who maybe just got distracted and only need a little nudge to go back to finish what they started. These folks are most likely to convert, so their pitch comes first. Then there are the folks who got cold feet about their purchase and deliberately chose to, well, sleep on it. Cue the reviews, which might be just the ticket to rekindle your excitement about that pillow. Liked this? Then read these: 10 best email newsletter tools How to master responsive email 15 web design secrets from the world's biggest brands View the full article

Smartphone cameras have come a long way in a short period of time, but there is still one major limitation: Your hands. Keep steady for every shot you take with the help of the Ztylus Stabilizer Rig Kit for Smartphones, on sale now for 26% off the retail price. Blurry photos taken by jittery hands can be a thing of the past when you lock your phone into the Ztylus Stabilizer Rig Kit for Smartphones. This smartphone grip makes sure you always have a tight hold on your phone and prevents it from shaking as you take the shot. Its ergonomic build makes it comfortable to hold and easy to attach to a larger tripod if you want to take a stationary shot. The Ztylus Stabilizer Rig Kit for Smartphones usually retails for $29.95, but you can get it on sale for just $21.95 (approx £17). That's a saving of 26% off for a must-have accessory for any photographer on the go, so grab it today! View the full article

A campaign attributed to the FIN7 attackers targets restaurants with phishing emails and infected RTF Word documents that carry out fileless malware attacks. View the full article

Copyright and licensing are hardly words to lift the spirits and inspire creative energy, yet they are essential. There's an ever-growing consumer demand for great illustration. I may be biased, but I would say that illustration is the strongest visual communication tool in our increasingly image-based world. Its versatility and accessibility are integral to everything from books and websites, to packaging and advertising. Illustration is in our supermarkets, on our mobiles, in our libraries and on our clothes. A world without illustration is unthinkable, and it's copyright that supports it all. The UK has brilliant copyright law, closely aligned to the also excellent European law. These laws look even better compared to the US where, although copyright exists, you have to pay to register it to get the full protection. In the UK, that protection is a given: all of your illustration work automatically has full copyright. But there is significant growth in copyright infringement cases. The notable industry case studies – often involving high-street brands – can be read as shorthand for myriad cases that fail to attract coverage. Why is this happening? In part, it is because illustrators are increasingly confident in understanding and knowing their rights, and speaking out when they are abused. The Association of Illustrators (AOI) – the UK body supporting illustrators and the illustration industry – regularly advises on concerns around copyright infringements, and has excellent fact sheets for understanding these seemingly complex areas. Without copyright there'd be no licensing, says Ren RenwickWhy copyright matters Without copyright you cannot licence. Without licensing we wouldn't have an industry where illustration can be a viable career, and without career illustrators, commissioners wouldn't be able to get the great work that they need. While some would argue that globalisation and the internet make copyright redundant, the truth is it's never been so vital. Not only is it perfectly able to adapt to all that the current and future commissioning landscapes require, it works brilliantly as an economic model. Licensing allows for commissioners to pay for the specific uses they need at the time, and then come back later if they require more. It's a lean and efficient purchasing model. The knack is for illustrators and commissioners to work together to understand how this works, and to be open with each other to ensure we keep our thriving and enviable illustration industry going. Commissioners rely on there being great illustrators of all kinds – emerging, established, experimental, esoteric – just as illustrators rely on a broad breadth of commissions. The AOI, and I, look forward to working respectfully, energetically and positively together with commissioners and illustrators – as an industry – to ensure the future for ourselves and our wonderful, inspirational world of illustration. This article originally appeared in Computer Arts issue 265; buy it here! Related articles: Confused about copyright? Try this helpful handbook 5 legal terms every designer needs to know How to protect your designs from copyright thieves View the full article

UX strategy is a process that should be started before the design or development of a digital product commences. It is a practice that when done empirically is a better guarantee of a successful digital product than just crossing your fingers, designing some wireframes, and then writing a bunch of code. It's the method by which you validate that your solution actually solves a problem for real customers in a dynamic marketplace. Jaime Levy, author of the top-selling O'Reilly Media book UX Strategy: How to Devise Innovative Digital Products that People Want, will host a workshop at Generate London on 20 September that will dive deep into UX strategy with both lectures and hands-on exercises. You will learn... Why an empirical practice of user experience strategy is crucial for devising successful online products How to identify and validate your target users through provisional personas and customer discovery techniques How to conduct competitive research and analysis to explore a crowded marketplace or an opportunity to create unique value How to use storyboarding for creating a narrative that focuses on a product's value innovation and business model The workshop is suited to UX/UI practitioners of any level, product teams and managers, business executives, and startup founders who want to learn how to be more strategically sound in their process. Workshop participants using the Business Model CanvasOther Generate London workshops feature Steve Fisher on running design and content sprints, Anton & Irene on idea generation and the selling of the idea, and Zell Liew on building scalable responsive components. The events will also cover adaptive interfaces, web animations, performance, accessibility, chatbots, better teamwork, and much more. Don't miss it! If you buy a combined workshop and conference pass for Generate London, you will save £95! View the full article

You're reading Web Design Usability Tips For Billing Forms, originally posted on Designmodo. If you've enjoyed this post, be sure to follow on Twitter, Facebook, Google+! Each ecommerce site has its own checkout flow moving the user from a shopping cart to the final purchase. This differs based on what the user is buying and their intentions, but finalizing payment is always the toughest part. Your billing fields need to really keep visitors engaged and encourage them to complete the checkout process. I’d […] View the full article

Anything you can possibly imagine can be realised in a video game, thanks to advances in technology. So why dedicate all your time to simply replicating the designs and patterns that we're used to in reality? Instead, the designers who get it right play to the strengths of the medium, by creating games that are visually striking and artistically inspiring. Here, we pick our 20 favourite designs in games history and grab some leading games designer views on these stunning elements – from chilling character costumes to outrageous environments. 01. The hood – Assassin's Creed Assassins Creed HoodThe stories of the Assassin's Creed heroes are separated by hundreds of years, but there's one stylish visual hallmark that ties them together: the hood. Fashion may change over the centuries, but hoods will always be around in some form, which makes Ubisoft's decision to incorporate it into their costume designs a stroke of genius. It never looks out of place or anachronistic, whether you're in the 12th Century Middle East, or the modern day United States. It also makes sense in the context of the game, as the secretive Assassins use it to conceal their identity. Each character has their own distinct costume – from Altar's simple white robes, to Ezio's elaborate renaissance garb – but the hood is always at the centre of the design, linking them in a subtle, stylish, and visual way. Not only does it look cool, but it makes sense for the characters, and the eras they live in. Assassin's Creed designer view David 'Vyle' Levy, concept artist on Assassin's Creed, says: "This was probably one of the most challenging projects I've ever worked on, especially regarding the balance between fantasy and hyperrealism. The difficult balance the team was trying to reach was one of a very 'edgy' mix of an ancient culture, depicted with a very modern, graphic, visual language." 02. Master Chief's armour – Halo Master Chief's Armour: HaloHardcore Halo fans know it as the MJOLNIR Powered Assault Suit. For the rest of us it's that awesome green armour that Master Chief wears – the faceless hero of the Halo series. Halo's world can best be described as 'hard sci-fi'. It's a rugged, believable universe, with two unique sets of designs: the cold, functional vehicles and armour of the humans, and the bright, colourful, otherworldly ships and weapons of the Covenant – which went on to inspire the outlandish weapons in Neill Blomkamp's modern sci-fi classic, District 9. The armour's eye-catching green colouring has become synonymous with the series. Its functional design fits in with the hard-edged military aesthetic of the game world, and it hides Master Chief's face. Developers Bungie did this on purpose, because they wanted him to be an anonymous cipher for the player: he isn't a character, he's YOU. Halo designer view Joe Staten, cinematics director at Bungie, says: "Early on, the team weren't necessarily considering using visual design to make people want to play in the world they were creating. But Master Chief is really what kicked off the creativity. People reacted really well to him." 03. Hengsha – Deus Ex: Human Revolution Human Revolution has a bold, distinctive art styleHuman Revolution has a bold, distinctive art style. Its 'near future' setting is incredibly evocative, riffing on films like Ghost in the Shell and Blade Runner, but at the same time carving its own identity. It's one of a few modern, big budget games that you can recognise instantly from just glancing at a screenshot. The Chinese island of Hengsha is the best example of its dramatic vision of the future. It's an enormous two-level city that separates the poor in the lower levels, and the wealthy in the gleaming towers on top. It sounds absurd, but it's based it on a real proposed design. It feels futuristic, but is still grounded in reality. The concept artists, and lead designer Jonathan Jacques-Bellette, weren't just inspired by other games; it was modern industrial design, fashion, and architecture they looked at first. Over 1,400 individual objects were designed to 'clutter' the levels and make them seem lived in, as well as hundreds of brand logos to give the world depth and credibility. Few games are as immersive, and that's why it works. Deus Ex designer view Jonathan Jacques-Bellette, art director at Eidos Montral, says: "Our goal with Human Revolution was to give it its own distinctive aesthetic flair. Not only did I want the game to look different and singular from other futuristic games, but I planned to steer away from the '80s concept of science fiction that we've been circularly perpetuating in our industry. I find it fascinating that a lot of the futuristic designs in games are aesthetically outdated. We tried to apply modern design theories to the game's visual design." 04. The Colossi – Shadow of the Colossus The Colossi's eyes look into your soulTeam Ico, the Japanese studio behind Shadow of the Colossus, is famed for its understated and minimalist design style. Its world is sparse, beautiful, and atmospheric, and laced with mystery, as are the beasts that inhabit it. They look like they've been ripped from the earth; part organic, part man-made. They have fur and leathery skin, but ancient, crumbling ruins jut from their bodies. It's a bizarre, surreal aesthetic, but perhaps the most inspired aspect of their design are the eyes. There's a grey morality to the game. You have to kill these monsters to bring someone you love back from the dead; a selfish pursuit, and the colossi never attack you first. It's almost as if you're the bad guy. There's a weird sense of guilt as you kill them, which is partly due to the sad, innocent eyes that stare at you as you do it. Team Ico managed to make these creatures both intimidating and sympathetic, all through their appearance. Shadow of the Colossus designer views 3D artist, and co-owner of CG production studio MDI-Digital, AJ Jefferies, says: "Each of the game's 12 colossi has a distinct, individual design. I love that their structure is directly tied to the landscape and architecture in which you find them. The broken stone and shaggy scruffs of fur that cover their bodies let you know that these creatures are ancient. It's as if the sparse landscape you've been travelling through has ripped a chunk from itself and decided to go for a walk. They truly feel part of the world they live in." Gary J Lucken, pixel artist at Army of Trolls, says: "One of my favourite games of all time. I love the design as a whole, but the creatures are amazingly well crafted. They have a sadness about them. It feels a bit like taking down The Iron Giant." 05. Metal Gear RAY – Metal Gear Solid Metal gear RAY looks more creature than machineIllustrator Yoji Shinkawa has been the lead concept artist on the Metal Gear Solid series since the very first game. His designs are created in the form of elegant, expressive pencil sketches, then translated to the game by Hideo Kojima's team of digital artists. Mechanical design is something he excels at, and Metal Gear RAY – an amphibious bipedal tank – is one of his most memorable creations. While robots in Western media are square and clunky, Japan favours more organic designs; the kind seen in classic anime. RAY is a machine, but looks like a sea creature, reflecting its ability to move around underwater. Adapting in-game models from Shinkawa's graceful hand-drawn sketches gives the Metal Gear series a classy, stylised edge, like the pages of a manga come to life. Metal Gear Solid designer view Jonathan Jacques-Bellette, art director at Eidos Montral, says: "When referencing video game aesthetics, the MGS franchise has been my benchmark since it first came out on the Playstation. In my opinion, it's probably the most visually polished series ever made. The degree to which it makes no compromise to any of its visuals – be it a simple prop or a full fledge main character – is something most video game companies don't even understand. "I remember when Konami mentioned how much time and energy they spent just to figure out which type of flower they would but in the final battle against The Boss in MGS3. So many people in the industry, developers and journalists alike, just couldn't believe it, just couldn't rationalize or justify putting so much importance on a flower showing up during a final boss fight. But see, that's exactly what it's all about! Visuals in video games aren't just about technical prowess. They are – first and foremost – about communicating ideas, meanings, and emotions. You either understand this or you don't." 06. Aperture Science – Portal Aperture Science PortalNothing else, in any medium, looks like Portal. The Aperture Science Enrichment Centre is the star; an abandoned facility made up of sparse, white testing chambers. You're forced to work your way through them one by one, solving mind-bending, and fiendishly clever, multi-dimensional puzzles. Instructions are relayed by simple graphics of stick figures, and the objects you use to solve the game's genius conundrums – buttons, switches, cubes – are all boldly designed and instantly recognisable. This visual language becomes intrinsic to the gameplay in a supremely clever marriage of mechanics and design. It's a smart game. Highlighting the sinister nature of the facility, occasionally the gleaming white walls break away, revealing eerie, unseen areas that are gloomy and rusting, and scrawled with creepy graffiti from previous test subjects. In the second game, set hundreds of years in the future, the place becomes overgrown with thick jungle foliage. Portal designer view Kim Swift, level designer on Portal, says: "Originally the environments were complex, but that was the wrong idea for Portal. Because we're introducing a new concept, it was best to keep it bare bones. In one section, all you were supposed to do was put a box on a button and open a door. One player literally spent 30 minutes trying to push a shelf onto the button, meanwhile, the box was sitting right there. That's how the clinical environment design came to be." 07. Rapture – BioShock Rapture BioShockRapture is an underwater city hidden in the depths of the Atlantic Ocean. It was built in the '50s as a haven for the world's intellectual elite, but after the discovery of a gene-altering sea slug, things went mental, and the place became infested with crazed 'splicers' and fell into disrepair – which is when you stumble upon it at the beginning of the game. It's a place frozen in time, and you see the remains of the fallen society all around you. The city tells a story through its superb level design. You see cheery neon signs advertising luxury homes, abandoned shops, and bodies of murdered residents, and learn about the doomed city as you move through its leaky halls. It's a type of interactive visual storytelling unique to games, and BioShock's setting is still unmatched. It feels like a real place. The optimistic advertising of the '50s has become kitsch, and is routinely abused by ironic greetings cards, but Rapture presents it in a completely new light. There's something fascinatingly macabre about seeing the ruins of a once opulent society, completely destroyed by its own greed and rampant consumerism. BioShock designer view Ken Levine, creative director at Irrational Games, says: "I don't think BioShock is competing with films, books, and other media aesthetically. A book is a book, a movie a movie, a game's a game. However, our medium has so much untapped aesthetic capacity. But the 'verbs' of our aesthetics are new and we're just figuring them out." 08. Vault Boy – Fallout Vault BoyThe designers of Fallout also looked at saccharine '50s adverts to inspire their Vault Boy character. The game imagines a world where the 1950s idea of the future actually happened, and rocket cars, ray guns, and robot butlers were commonplace. But then it all goes wrong, and the world is destroyed by nuclear war, enivitably turning America into a sparce wasteland. Vault Boy is an advertising mascot for a company called Vault-Tec who, in the game, build atomic shelters. His smiling face jars with the misery of the post-nuclear landscape, and he's also integrated into the game's interface. All of your skills and abilities are represented by a grinning Vault Boy, whether he's firing a bazooka, or chopping someone's head off... naturally. It's an iconic design, influenced by '50s Americana, and classic icons like the Big Boy Restaurants mascot. It's always aesthetically intriguing to see an idyllic setting gone wrong, and both Fallout and BioShock have made that idea their own. Fallout designer view Leonard Boyarsky, art director on Fallout, says: "When I told people about my ideas for the look of the game, they looked at me like I was crazy. Why would we make a post-apocalyptic game look like a cheesy B-movie? Much to Interplay's credit however, even though they thought I was insane, no one said we couldn't do it. So we did. I started pitching the '50s vibe so early that there were really never any other competing art styles considered." 09. The Normandy – Mass Effect The NormandyThe Mass Effect series is heavily inspired by the classic science fiction films of the 1970s. It's a space opera on par with Star Wars, but its visual design is edgy, hard, and realistic. Think 2001: A Space Odyssey, Silent Running, or Alien. The best example of this is the lead character's flagship, the Normandy. The temptation for a lot of sci-fi designers is to make ships look curvy and overtly futuristic, but the Normandy is functional and low key; just as a military ship would be. According to the game's mythology, the ship was co-built by humans, and an alien race known as the turians. This is reflected in the design, which has elements of both present day military hardware, and something distinctly not of this world. The interiors were similarly well-designed, and exploring between missions, talking to your crew and learning about the history of the game's rich universe, made the place feel like home. Mass Effect designer view Gary J Lucken, pixel artist at Army of Trolls, says: "It's so lovely and slick, and embedded into my memory. It was sad to walk around an empty Normandy in the third game. It was almost like those bits at the end of Big Brother where they play sound clips over an empty house. I could almost hear Mordin's singing, or a fight kicking off after a loyalty mission. It's laid out so well; it's logical, and you remember where things are. The decal design is top notch, and I'm sure it influenced the design of the ship in Prometheus somehow." 10. Squall's gunblade – Final Fantasy VIII Squall's gunbladeIt's a gun, and a blade. It's a gunblade! Square Enix are famed for their ridiculously impractical weapon designs, like Cloud's iconic buster sword, which is twice his size. But it's the gunblade that wins out for us, an engraved sword with a revolver barrel at one end. As hero Squall struck an enemy, it would simultaneously fire a bullet. Obviously. Square's design ethic, especially in the Final Fantasy series, is being as cool as possible, which results in ludicrous designs like this. That's what defines the series. It's in no way tethered to reality, but still manages to create a compelling universe that you really care about and believe in. Japanese games are still unmatched when it comes to exaggerated, dramatic visual design, and long-time Square Enix artist Tetsuya Nomura is responsible for the majority of the series' most enduring designs, including this unlikely weapon. Like Metal Gear's Yoji Shinkawa, Nomura's designs are realised as intricate drawings before making it into the game. Final Fantasy VIII designer view Yoshinori Kitase, director of Final Fantasy VIII, says: "What I wanted to put in the game was a little reality, and combine it with unreality. By showing it through the eyes of normal people, it makes the game more real. We left Nomura totally in charge of character design. The first illustration for the game was of Squall and his gunblade. We thought about what kind of world this character would exist in, and worked the story out from there." Next page: 10 more iconic video game designs 11. Project-K – Rez Project-K: RezRez is set inside a computer being invaded by a virus. This digital world is presented as a series of abstract environments that represent the 'data' of the computer you're in. The minimalist, almost psychedelic, visuals are designed to work in conjuction with the soundtrack, which player's create themselves by interacting with the game. As the music plays, the world pulses in time with the beat. The enemies you battle make different musical sounds when destroyed, and are visual representations of each instrument. It's a visual type of music creation, and lead designer Tetsuya Mizuguchi wanted players to experience a kind of synesthesia as they played. Rez designer view Tetsuya Mizuguchi, Rez creator, says: "I think the goal of the Rez experience is that everything is moving and activating with music, like a MIDI controller. It's like a synthesizer. Not only sounds, but in the visuals it crafts, and the vibrations." 12. The classes – Team Fortress 2 The classesThe first Team Fortress game had no real visual style, but Valve had the inspired idea to make its sequel look visually distinct from other shooters. The result is a cast of characters who look like they've been taken straight out of a Pixar movie. But it's not just their appearance that makes them superb examples of design: it's their shape. The game is incredibly fast-paced, and the battlefield is often a blur. Because each class serves a specific function – be it healing, repairing, or providing support – and teamplay is important, you have to be able to recognise the players around you. So by giving each class a unique shape and outline, Valve were able to give players visual cues to make them aware of their surroundings; even in the thick of a frenzied battle. Normally proportioned soldiers wouldn't work, so the exaggerated cartoon art style is a perfect blend of form and function – and looks really cool to boot. Team Fortress 2 designer view Charlie Brown, software developer at Valve, says: "It was the gameplay that dictated the style. Team Fortress has a variety of weapons that aren't even realistic, the physics forces are really high, so that humor content gets ratcheted up, and so we decided instead of fighting that with something realistic to do something a lot more stylised and fun and inviting." 13. The dolls – Stacking The dollsDouble Fine artist Lee Petty dreamed up the bizarre world of Stacking. Its imagery is based on silent films of the '20s as well as the Victorian and depression eras of history, but the world is inhabited, strangely, by living Russian dolls. You have to solve puzzles in the game by 'stacking' different dolls on top of one another. The dolls were chosen because people would see them and instantly understand how the game works. This would give the game appeal to casual and hardcore gamers alike, something Double Fine excel at. It was also convenient from a gameplay perspetive, as the dolls could serve multiple functions, as both characters, and the player's inventory. Petty came upon the idea when he saw his daughter playing with a set of Matryoshka dolls. The game was released via digital distribution; a platform that's less risky for publishers, meaning they're able to let developers make more conceptually and artistically interesting games. Stacking would never have been the same or even made if it were a boxed off-the-shelf title. Stacking designer view Lee Petty, project lead on Stacking, says: "When I set out to design Stacking, I knew that I wanted to make a contemporary version of the classic adventure game. I was looking for a way to distill the adventure game experience down to a more approachable, compact experience without losing the charm and character driven story telling of the classic adventure games. "At the same time, I saw my daughter playing with a set of matryoshkas, and I realized that they would be a perfect way to create a new game mechanic, condense the experience, and add a unique personality to the game. The matryoshaka dolls became the verbs, the inventory, and the characters that the player interacts with to solve puzzles." 14. The Land of the Dead – Grim Fandango The land of the deadThe design team behind LucasArts' legendary adventure, Grim Fandango, brought together two art styles – film noir, and Aztec culture – and fused them together. This might sound like it would be jarring, but it worked superbly well. Based on the imagery of the Day of the Dead, a Mexican holiday where people pay tribute to deceased friends and relatives, the game is set in the afterlife. Here, people are either fast-tracked to heaven, or have to spend years in the Land of the Dead (a kind of purgatory), working to pay their way to eternal happiness. So while it's a fantastical world, it's also grounded in reality, full of depressed office workers going about their daily routine, trying to pay off their life debt. The story is a classic noir mystery, with seedy detectives, sleazy jazz music, and dames in distress, but the Latin American influence gives it an idiosyncratic feel. Grim Fandango designer view 3D artist and co-owner of CG production studio MDI-Digital, AJ Jefferies, says: "This world shouldn't work. Somehow the designers have managed to take the disparate aesthetics of ancient Aztec architecture and 1920s art deco and blend them into a cohesive, functioning universe. Why it works so well, and why I adore the game, is that it's a fusion of the surreal and the mundane. While there are elements of the fantastic, they are handled in such a way that it never pulls you too far out of the universe." 15. Nippon – Okami Nippon: OkamiInspired by traditional Japanese watercolour and wood carving art, Nippon is one of the most beautiful video game worlds we've ever inhabited. This 'sumi-e' style made the game look like an ink wash painting come to life, and painting is actually incorporated into the gameplay: you damage enemies by 'drawing' the attacks with a magic brush, which is a nice touch. The idea of the game was to restore nature to the world. When you first visit an environment, the world is covered in a dark soup of ink. But as the hero, Amaterasu, runs through the world, colour is restored. It's as if she's painting the environment; again, tying the visuals into the gameplay. The result is an imaginative, visually striking game. Sadly, despite rave reviews, Okami's visuals were too alienating for the mainstream gaming audience, and its sales failure resulted in the developers, Clover, being shut down. This is an all too common occurence in the games industry, which makes developers less inclined to give their projects unusual visual styles. We see more and more dull, brown military shooters, while games like Okami become an endangered species. Okami designer view Atsushi Inaba, producer on Okami, says: "Once we fixed ourselves on a graphical style and got down to the brushwork, we thought 'Wouldn't it be great if we could somehow get the player involved and participate in this artwork instead of just watching it?' That's how the idea of the Celestial Brush was born." 16. The Combine – Half-Life 2 The Combine themselves all look differentThe Combine is a ruthless alien race that has come to Earth to bleed it of its natural resources. In Half-Life 2's levels, you see their machines literally 'eating' the unnamed Eastern European city it's set in. Black, angular, metallic structures stick out of buildings, grinding and whirring as they devour the environment around them. This clash of spartan, functional Eastern Bloc architecture and abstract alien machinery makes the dystopian setting feel oppressive and uneasy. The Combine themselves all look different, as, according to the story, they're enslaved members of a variety of different alien species. Their designs are just as menacing as their monstrous technology. Alien invaders are almost always based on Hollywood films, which makes them feel familiar, and not very interesting. Half-Life 2 art director Viktor Antonov instead dreamed up something totally unique, and it makes them feel genuinely intimidating. Half-Life 2 designer view Viktor Antonov, art director on Half-Life 2, says: "I started as a conceptual designer and just doing drawings, but the designs I received were not quite what I wanted. So I went to the team and literally sat behind the model makers and engineers and explained to them what I wanted from the art and design, and my ideas were finally realised in the final product. City 17 has many symbolic elements. The feeling is of an occupied city – in this case, The Combine. It also has allusions to communism, globalisation, and a hint of fascism." 17. Link's shield – The Legend of Zelda The green tunic, cap and shield have become modern pop culture iconsIn each Zelda game, the Link you play as is a different character. But like in the Assassin's Creed series, it's the costume that connects them. The green tunic, cap, and shield have become not just video game icons, but modern pop culture ones too. The design is always slightly different, but there are a few constants: the bold blue colouring, the triangular yellow 'Triforce', a story element that is threaded through each game, and the stylised silhouette of a bird is also apparant. Link's outfit is arguably as recognisable as Sonic the Hedgehog, or Super Mario, and just as culturally significant in the world of video games. Even though the character has developed, and the textures have become more realistic, the shield is always recognisable, and has been largely the same since the first game was released in the late 1980s, much to gamers' delight. The Legend of Zelda designer view Shigeru Miyamoto, creator of The Legend of Zelda, says: "Studio Ghibli's My Neighbor Totoro impressed me with what they did with the style. That's something I like to look at, to see something within an existing media that is creative and different. That's what we try to do with the design of our games, to take something people have seen and try to do something new with it. It's when you're really able to do something revolutionary within a media that's existed for some time that I think you're able to startle people." 18. The ships – WipEout The ships of WipEoutDeveloped by Psygnosis, in collaboration with The Designers Republic, WipEout was aimed at the trendy, club-going youth of the mid '90s. It had a cutting edge art style, that still stands up today, and a 'banging' soundtrack by acts including The Chemical Brothers. The visuals perfectly captured the cultural zeitgeist of that era. Inspired by Nintendo racers like F-Zero and Mario Kart, the team wanted to make a fast-paced racing game with a distinct visual style. The result were the anti-grav ships that are still featured in the series today. As a testament to the quality of their design, they've barely changed since 1995, and still look notably futuristic. After the success of WipEout, The Designers Republic enjoyed over 10 years of success, working with respected electronica record label Warp, and various other companies. They sadly closed their doors in 2009. More developers are hiring external artists to design certain elements of their games, be it visuals, or music. It's a smart way of bringing an original feel to a project that isn't used nearly enough. WipEout designer view Ian Anderson, founder of The Designers Republic, says: "With WipEout we were already given a target market, so we were playing the consumerist game. But the fun part was that we had a choice of deliberately going for them, or deliberately trying to alienate them." 19. The city – Mirror's Edge The city of Mirror's EdgeDystopian cities are usually bleak, rain-soaked places, but Mirror's Edge is the exact opposite. The city, which is never named, is a gleaming urban paradise. Clean, bright, and safe. Or at least, that's what its brainwashed citizens think. The game sees you playing as Faith, a courier and free-runner who's rebelling against the city's tyrannical rulers. The stark primary colours and hard lines of the city actually figure into the gameplay. As you dash across the rooftops, certain parts of the scenery are coloured and stand out from the cold whiteness of the city, letting you know you're able to use them to climb on. It's all about finding the perfect 'line' through the city's architecture. While the textures are detailed and the city looks realistic, the vivid contrast of colours makes it feel more like a comic book. The designers at DICE took a common setting – a modern cityscape – and made it feel completely original through strong visual design. Mirror's Edge designer view Manuel Llines, producer on Mirror's Edge, says: "The art and gameplay came together a lot. We needed an environment that was easy to read, we needed a story that was believable. I think believability is the key word with this game. The city is contemporary: we had inspirations like Dubai and New York and Tokyo – all sorts of places. And yes it's a futuristic society but it's not Orwell, it's not 1984. It's a city where people are happy." 20. Sackboy – LittleBigPlanet Sackboy is a canvas for the player's imagination.LBP is a game built around creativity. Using an imaginative and complex toolkit, you can make anything from games and movies, to interactive art exhibits. To reflect this idea of freedom and creation, developers Media Molecule created a mascot that was, essentially, a blank slate. Sackboy is a canvas for the player's imagination. When you start the game he's completely featureless; a smiling ball of burlap material with a chunky zipper running down his middle. But then you can go in stick things on him, dress him up, change his material, and generally make your mark. It's a good example of character design directly complementing gameplay. LittleBigPlanet designer view Kareem Ettouney, designer at Media Molecule, says: "We came up with a crazy concept. Maybe the place where you go to create stuff in the game is actually in yourself. Let's put this zip on Sackboy, and when he opens the zip, folds in on himself and goes and creates inside himself. Because creativity and ideas are all inside you!" Related articles: Making it in the video game industry: top tips How to generate new ideas for character designs How to design a spaceship View the full article