Finally, a clever use for marine algae that appeals to both Danish mer-folk and lovers of Scandinavian design.

Winner of international James Dyson Award invents marine bioplastic made of algae and fish parts.

Have you ever wondered how the pros create a designer kitchen? Here are some simple guidelines for creating your designer kitchen.

The Benefits of Designer, Replica, and Ghost Furniture Check out this site for more. Continue reading here. Keywords: Designer chairs, Designer table and chairs, Eames chair price, Ghost chairs, Designers chairs, Designer table and chairs.

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Flash is an interactive platform that has a powerful design and animation tool along with a dynamic scripting engine, bitmap rendering, as well as advanced video and audio playback. There are three main aspects: the player, the file format, and the authoring tool/IDE. Flash games can be developed for websites, interactive TV, as well as handheld devices. There is no need to adopt multiple programming languages to build games.

Models feature minimalist urban luxury design trends

P&T Interiors, the notable eclectic high-end boutique interior design firm lead by Pol Theis, is pronounced New York's 2018 Most Innovative Boutique Interior Design Firm by LuxLife Magazine

Innovative Artist Noor Shamma Showcases her First Jewelry Line Encompassing Personal Life Patterns, Consistency and Soul

Cedric Chevalley, Swiss jewelry designer, will be taking residency in Los Angeles. His new studio-gallery will be opening in February of 2020 in Santa Monica, California.

Hailed as the go-to app for a modern toolbox and designed for anyone involved in a home build or remodel, hyve allows the user to store up-to-date project details on a single platform

Connecticut-based couture bridal fashion house Modern Trousseau is announcing the release of their Fall 2018 Collection, following its debut at New York Bridal Fashion Week earlier this fall.

New gallery opening on Pico Blvd-- February 29th, 2020

Designer Jonathan Marc Stein announces the debut of his latest collection at Arab Fashion Week in Dubai, October 2019 for S/S2020 RTW

Actress and TV personality Kyle Richards and fashion designer Shahida Clayton are launching their new women's contemporary fashion brand- Kyle and Shahida at New York Fashion Week.

The American fashion designer Victoria Napolitano will collaborate with Luca Caputo, a talented Italian with a passion for restoring classic cars and motorbikes.

The creations shared in "my Sicilian kitchen" have been prepared by members of the Bilo family for generations, and now are passed on to you and your family. Buon Appetito."-Linda Bilo-Brechtel

Moon Studios - award-winning creators of Ori and the Blind Forest and Ori and the Will of the Wisps - are looking for Senior Game Designers. After redefining the Metroidvania genre with the Ori series, our next goal is to revolutionize the ARPG genre.  Join our family, help us create some of the best games the industry has ever seen and work with some of the most talented individuals in the world! Please note that Moon Studios is a distributed development studio: Everyone at Moon works remotely and we accept job applications from participants all over the world! We're looking for: Individuals who can work autonomously - We don't count your hours, we won't babysit you. Your job is to enchant us with your raw talent and professionalism! Individuals who want to have a voice - Unhappy with the current state of the industry? Every person at Moon Studios has a voice and can help shape the games we're making. Individuals who believe in collaboration - We work together as a team, as a family, to challenge the status quo and raise the bar! Individuals who want to grow - Contrary to other AAA studios, our goal is to remain a comparatively small studio made of elite talent. We strive to only hire the absolute best talent in the industry and encourage them to further grow their skills with us. Tired of being the smartest gal or guy in the room? Join our community, inspire us, and be inspired! Since Moon Studios is a distributed game development studio, we work with talent from all around the world. To keep things personal and foster communication, we hold annual Team Retreats to touch base and figure out what challenges we want to tackle next. Drinks, dinners, flights, accommodations, and an overall swell time all included! We want you to be: A Designer by heart: While playing games, you just intuitively know how to improve upon the weaker aspects of a title. You indulge in analyzing things that don’t quite work and love to think about how this or that aspect could have been perfected. Experienced: You've worked in the industry before and know the ropes. You're looking for a no-bullshit studio to call home where you can voice your opinions and work with the best talent this industry has to offer! Passionate: You’ve played and studied RPGs your whole life and you still can’t get enough of them. You have a love for all things Diablo, Zelda, Dark Souls and other games in the genre. You’d love the opportunity to work on an RPG that dares to innovate and go far beyond what the genre has offered players thus far. Open to new challenges: We're constantly striving to raise the bar here at Moon Studios. We're not looking for specialists in one field or genre, we want you to be open to help wherever help is needed and be the well-rounded multi-talented creative genius you are. A cool dude / dudette: Life is too short to deal with Prima Donnas: You're cool, open-minded and always willing to learn new things. Simply send your Resume + Portfolio to jobs@moongamestudios.com Moon Studios is an independent video game development studio, founded in 2010 by Thomas Mahler (former Cinematic Artist at Blizzard Entertainment) and Gennadiy Korol (former Senior Graphics Engineer at Animation Lab). The company focuses on highly refined gameplay mechanics and prides itself on an excessive ‘iterative polish’ process. Moon Studios is a distributed development house: Our team members are spread throughout the world, allowing Moon to work with the best and most talented people in the games industry. In 2014, Moon announced it was working on Ori and the Blind Forest, which was released on March 11th, 2015 for Xbox One and PC via Steam, quickly followed up by the Ori and the Blind Forest Definitive Edition a year later. Ori and the Blind Forest received overwhelmingly high praise, a fantastic debut for Moon Studios.   Ori and the Will of the Wisps is slated to be released on March 11th, 2020. Moon Studios is simultaneously also working on a yet uannounced title.

Who We Are: At Visual Concepts, we believe great games are made by diverse and empowered teams with a shared passion for play. As one of the world’s top game development studios, we have shipped over 100 mullti-sku titles to critical acclaim and commercial success. Our teams are independent and entrepreneurial. Our studios in Agoura Hills, Novato, Orange County, Budapest, Shanghai, and Seoul are committed to artistry and technical innovation, offering top candidates the opportunity to learn and grow with some of the smartest and most creative minds in the industry.  What We Need: Do you live and breathe combat design? Do you decode games into strikes, blocks, reversals, range, damage and combos the moment you pick up the controller? Do you love designing archetypes, inventing amazing signature moves and infusing combat with personality and spectacle? If so, we’d love to have you join us to help deliver amazing experiences for our players. Our Agoura Hills studio is looking for a Senior Combat Designer for the next iteration of the WWE 2K franchise. In this role, you’ll help define core combat philosophy as we translate the amazing spectacle of the WWE into the arsenal of moves our players will take into the ring. You’ll script movement trees, architecting advantage and vulnerability into range, combinations, setups, baits and throws. You’ll dream up signatures and spectacular finishers, differentiate archetypes, and balance a massive roster of Superstars to help deliver accessible, deep, spectacular combat. You’ll work in a creative environment with a diverse team of designers, artists and engineers, touching everything from combat to camera to the emotion and spectacle of one of the greatest shows on Earth. What You Will Do: Develop a combat vision integrating intuitive control, kinetic move sets, meaningful differentiation and strategic depth Work with design, animation and engineering teams to conceive, implement and polish character vs. character combat Play and reference both classics and contemporaries to build on what works while driving new innovations in combat design Design and implement systems for combat depth, strategy and spectacle Identify and document tools and systems that make creating character vs. character combat more efficient Who We Think Will Be A Great Fit: 4 or more years of game design experience, 2 or more in a combat designer role Experience implementing and tuning animation and timing windows for attacks, blocks, branching actions, hit reactions and other related combat actions Experience scripting combat in LUA or similar framework Experience conceiving and differentiating characters, developing signature moves, and balancing asymmetrical fighter types Experience working across disciplines, including animation, art, VFX, audio and engineering to produce a great result Outstanding written and verbal communication and collaboration skills Advanced Qualifications: Experience and love of combat driven by character stats and role-playing elements Experience designing and improving gameplay editing tools Direct experience and understanding of key distinctions of wrestling games Programming/technical experience

    Who We Are: Visual Concepts is one of the world’s top game development studios with a flat, entrepreneurial, and non-corporate work environment. We have a proven track record having shipped over 100 multi-SKU titles to great critical acclaim. Our studio in Foothill Ranch, CA is committed to gaming and technical innovation and offers top candidates the opportunity to learn and grow with some of the smartest and most creative minds in the industry. What We Need: We are seeking a Senior Systems Designer to join our development efforts on an exciting new game! Within this role, you’ll be focused on creating, maintaining, and balancing engaging gameplay systems. You’ll work with engineers, artists, and other designers to build innovative mechanics and economies that form the backbone of our new project. What You Will Do: Document, build, implement, bug-fix and “own” your ideas, overseeing them from concept through to final release Design, write, and prototype new systems and some of the meta-game such as player progression, character creation, game balance, economies, and other related systems Evangelize core gameplay features to the rest of the team and help develop best practices Collaborate with game and world designers, gameplay engineers, artists, and animators to implement, tune and balance gameplay systems Prototype and pitch your own design ideas to the team Analyze, validate, and incorporate feedback from the team, as well as from external user testing, as needed Who We Think Will Be A Great Fit: 5+ years’ experience within the video game industry Shipped at least 1 AAA game within a Game Designer role Experience in system design for console or online games, such as player progression and advancement, social mechanics, rewards, economy, or customization/in-game editors Experience with scripting (proprietary or third party)  Strong understanding of development processes, workflows, and tools Experience working in-engine, either prototyping or implementing your ideas Comfortable with a development that is playtest-driven and focused on iteration and polish Ability to find new opportunities for improvements and additions within a game Ability to work in a team and collaborate with engineers, artists, and other designers Good communication and presentation skills Self-motivated and proactive What Will Help You Shine: Experience working with analytical data sets for balancing and fine-tuning  Experience with Unreal Engine 4 (UE4) and working knowledge of UE4’s Blueprint system Experience with programming (C++, Python)

Brand Equity: In conversation with British designer & Owner, Simon Carter

The Landscape Treatment Designer (LTD) is a multicriteria spatial prioritization and optimization system to help design and explore landscape fuel treatment scenarios. The program fills a gap between fire model programs such as FlamMap, and planning systems such as ArcFuels, in the fuel treatment planning process. The LTD uses inputs on spatial treatment objectives, activity constraints, and treatment thresholds, and then identifies optimal fuel treatment locations with respect to the input parameters.

Tim Simpson designed disguises for the hit ITV show, now he is part of a network of 8,000 people making coronavirus pandemic protective clothing

There are many web apps for designer and developers out there, but getting by free and good ones is not that easy. That is why we are sharing 7 Web Apps For Web Designers To Simplify Their Work Life. Previously, we have already covered 9 Tools To...

The post 7 Web Apps For Web Designers To Simplify Their Work Life appeared first on SmashingApps.com.

There are many web apps for designer and developers out there, but getting by free and good ones is not that easy. Today, we are sharing some great tools by Google. Previously, we have already covered 9 Best Resources For Web Developers & Web Designers So, without...

The post 7 Must Check Google Tools For Web Designers & Developers appeared first on SmashingApps.com.

This week’s Designer News – № 537 – includes a Free Animation in Design System E-Book, Creating Playful Effects with CSS Text Shadows, UI Design Hygiene, Creating the NHS Patient Webinars Platform, pattern.css Pattern Library, CSS Selectors Explained, Open Source Dashboards UI Kit and so much more!

The post Weekly News for Designers № 537 appeared first on Speckyboy Design Magazine.

This week’s Designer News – № 538 – includes 5 Simple Habits to Improve UX Research, New Media Queries You Need to Know, The Cost of Javascript Frameworks, The Hero Generator, Why Wireframes are Becoming Obsolete, Looking at coronavirus.data.gov.uk, Lots of Freebies and so much more!

The post Weekly News for Designers № 538 appeared first on Speckyboy Design Magazine.

When the world seemingly changed overnight due to COVID-19, it was surreal. Maybe your surroundings looked exactly the same. Your to-do list contained the same projects. Even if things were...

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This week’s Designer News – № 539 – includes How to Create a Color Theme Switcher, a Morphing Gooey Text Hover Effect, Free UXUI Doc Kit for Sketch/Figma, Design System Interview Questions, Faking 3D Elements with CSS, the StyleStash Chrome Extension, Teach Yourself Code and a bunch more!

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Benjamin Stuben Farrar of Iowa City is a storyteller without a story to tell at the moment. The first story is as dramatic and layered as his bold scenic and lighting designs for area stages:...

Dazed Media a interrogé les créatifs et leur a demandé d’imaginer des affiches répondant aux changements provoqués par la pandémie et appelant à un avenir meilleur. Dans le cadre de cette campagne #AloneTogether, plusieurs artistes et designers célèbres ont contribué, tels que Vivienne Westwood, Christopher Kane ou encore la créatrice de mode Katharine Hamnett. Ces […]

Benjamin Stuben Farrar of Iowa City is a storyteller without a story to tell at the moment.

The first story is as dramatic and layered as his bold scenic and lighting designs for area stages: “Benjamin Stuben Farrar” is not his actual name.

He was born Stewart Benjamin Farrar 41 years ago in Kentucky. He didn’t want to go through life as “Stewie,” so he went by “Benjamin,” until he got to college at Vanderbilt University in Nashville. He ran into so many other Bens, that his buddies decided to combine his names into “Stuben.”

That name followed him to grad school at the University of Iowa in 2002, where he earned an MFA in theater design. But when he moved to New York City in 2006 to pursue his career, he didn’t like hearing “Stuben” shouted across the theater.

“It sounded too much like ‘stupid,’ ” he said, “so I reverted back to Benjamin.”

But nicknames have a way of sticking. When he and his wife moved back to Iowa City in 2015 to raise their daughter, he switched to “Stuben” again, since that’s how people knew him there.

Professionally, he uses “S. Benjamin Farrar” and on Facebook, he goes by “Benjamin Stuben Farrar” so friends from his various circles can find him. Even though most people now call him “Stuben,” he still introduces himself as “Benjamin.”

“To this day, I have 12 different names,” he said with a laugh. “Only the bill collectors know me as ‘Stewart.’”

Like his name, his artistry knows no bounds.

He has planted apple trees on Riverside Theatre’s indoor stage in Iowa City; a child’s outdoor playground on the Theatre Cedar Rapids stage; and dramatic spaces for Noche Flamenca’s dancers in New York City venues and on tour.

These days, however, his theatrical world has gone dark.

His recent designs for “The Humans,” “The Skin of Our Teeth” and “Kinky Boots” at Theatre Cedar Rapids and “A Doll’s House, Part 2” at Riverside Theatre have been canceled or postponed in the wake of the coronavirus pandemic. He has “The Winter’s Tale” in the works for Riverside Theatre’s free Shakespeare in the Park slated for June, but time will tell if that changes, too.

“Within the course of two weeks, five productions were canceled or moved indefinitely,” he said.

Looking ahead, he’s not sure what shows he’ll have time to design for the upcoming seasons. He’s used to juggling three or four productions at a time, but he said that could become really difficult if the shows fall on top of each other at the various venues.

As with so many artists right now, his world keeps changing.

He and his wife, Jody Caldwell, an editor and graduate of the UI Writers’ Workshop, are both freelancers, leaving them with no income during this pandemic. So Farrar has been wading through red tape and delays to secure unemployment compensation and the government stimulus check, for which he’s still waiting. One bright spot was receiving a $1,000 Iowa Arts & Culture Emergency Relief Fund grant given to 156 Iowa creatives who have lost income from canceled projects.

With his regular revenue streams drying up, he’s been considering other ways to earn money through teaching theater or creating and selling more of his digital and film photography — an outgrowth of his fascination for the way lighting can sculpt a scene on stage.

“I love doing nature (photography). I love doing details,” he said. “I love photographing people, too, especially on stage — I love photographing my own shows. It’s just a lot of fun.

“For me, nature’s so interesting, especially living where we do in North America, there’s vast changes from one time of year to another. I just love looking at that on a very small scale, and how light happens to fall on that particular surface — how that surface changes color,” he said.

“Right now the redbuds are out. The magnolias came out two weeks ago and then they started to fall. It changes the landscape dramatically, especially based on whether it’s a morning light or afternoon light or evening light, whether it’s cloudy, whether the sun’s peeking through clouds and highlighting a few individual leaves. I find that super fascinating.

“That’s how I can look at the same boring tree at different times of year, at different times of day, and find something interesting to photograph.”

While his scenic designs create an immediate visual impact and help tell the story swirling around the actors, Farrar was a lighting designer before he became a scenic designer.

It wasn’t love at first sight. He took a light design course in college, but didn’t “get” it.

“It’s really difficult to wrap your head around it,” he said.

His aha moment came when he was running lights for an operetta in college.

“I just had these little faders in front of me so I could raise certain lights up and down. And the music was happening in front of me and I thought, ‘I control this whole little universe. I can make things completely disappear. I can sculpt things from the side, I can make things feel totally different — just like music can — just based on how it’s lit.’ And then I finally started to understand how the lighting hooked things together,” he said.

From there, his interest in lighting soared.

“I absolutely love lighting,” he said. “I think it’s probably given me more joy than anything else, just because I can go for a walk someplace and just the way the lighting changes as the clouds come in or out, or as the time of year changes and the angle of the sun changes, I really enjoy seeing that — and that’s what got me into photography.”

While his design work is a collaborative process with the director and other production team members, the ideas begin flowing as soon as he starts reading a script. With the flamenco dance company in New York, he might start working on a show two years in advance. With Theatre Cedar Rapids, the lead time is generally six months to look at the season overall, and four months to “get things going” on a particular show, he said. The lead time is about two months for Riverside Theatre shows, which have shorter rehearsal periods.

He begins thinking about the theater spaces, the text that the audience never sees, the show’s technical demands, and the scale in relation to the human body. He still likes to do some of his design work by hand, but computers and the 3D printer he has in his basement workshop have made the process much quicker for creating the drawings and scale models for each show.

He also enjoys the variety and challenge of moving between the small space inside Riverside Theatre and the large space inside Theatre Cedar Rapids, as well as the theaters at Grinnell College and Cornell College in Mount Vernon, as well as the theaters in New York and the touring venues that have housed his designs.

Ultimately, the goal of scenic design “is always about the storytelling,” he said.

“There’s a version of a show that exists in a script, if there is a script. Assuming it has a script, there is a scaffolding for that show in the script, and then there’s a version of the show in the director’s head, and then there’s a version of the show that’s performed in my head as I read the script. So there’s all these different versions.”

If the show is a musical, the choreographer brings in another idea, and the musical score adds another element. Sometimes Farrar knows the music very well, but other times, he doesn’t.

“Hopefully, I can integrate that well if I listen to the music while working on the show — not usually when I’m reading the script, but while I’m drafting the show. I’ll listen to the music to get a sense of how the show wants to move.

“Integrating all these different versions of the show — the text, what’s in my head, what’s in the director’s head, what’s in the choreographer’s head, the role the music plays — and then you synthesize all those elements, and then you find out how the show wants to move in the space it has. And how a show moves is one of the most important things to me. ...

“You get a sense that the show becomes this conscious element that wants a certain thing, and will reveal those things over time.”

And time is something he has right now.

Comments: (319) 368-8508; diana.nollen@thegazette.com

In 2003, my wife Lowri and I went to a christening party. We were friends of the hosts but we knew almost no-one else there. Sitting next to me was a thirty-something woman and her husband, both dressed in the corporate ‘smart casual’ uniform: Jersey, knitwear, and ready-faded jeans for her, formal shoes and tucked-in formal shirt for him (plus the jeans of course; that’s the casual bit). Both appeared polite, neutral, and neat in every respect.

I smiled and said hello, and asked how they knew our hosts. The conversation stalled pretty quickly the way all conversations will when only one participant is engaged. I persevered, asked about their children who they mentioned, trying to be a good friend to our hosts by being friendly to other guests. It must have prompted her to reciprocate. With reluctant interest she asked the default question: ‘What do you do?’ I paused, uncertain for a second. ‘I’m a web designer’ I managed after a bit of nervous confusion at what exactly it was that I did. Her face managed to drop even as she smiled condescendingly. ‘Oh. White backgrounds!’ she replied with a mixture of scorn and delight. I paused. ‘Much of the time’, I nodded with an attempt at a self-deprecating smile, trying to maintain the camaraderie of the occasion. ‘What do you do?’ I asked, curious to see where her dismissal was coming from. ‘I’m the creative director for … agency’ she said smugly, overbearingly confident in the knowledge that she had a trump card, and had played it. The conversation was over.

I’d like to say her reaction didn’t matter to me, but it did. It stung to be regarded so disdainfully by someone who I would naturally have considered a colleague. I thought to try and explain. To mention how I started in print, too. To find out why she had such little respect for web design, but that was me wanting to be understood. I already knew why. Anything I said would sound defensive. She may have been rude, but at least she was honest.

I am a web designer. I neither concentrate on the party venue, food, music, guest list, or entertainment, but on it all. On the feeling people enter with and walk away remembering. That’s my job. It’s probably yours too.

I’m self-actualised, without the stamp of approval from any guild, curriculum authority, or academic institution. I’m web taught. Colleague taught. Empirically taught. Tempered by over fifteen years of failed experiments on late nights with misbehaving browsers. I learnt how to create venues because none existed. I learnt what music to play for the people I wanted at the event, and how to keep them entertained when they arrived. I empathised, failed, re-empathised, and did it again. I make sites that work. That’s my certificate. That’s my validation.

I try, just like you, to imbue my practice with an abiding sense of responsibility for the universality of the Web as Tim Berners-Lee described it. After all, it’s that very universality that’s allowed our profession and the Web to thrive. From the founding of the W3C in 1994, to Mosaic shipping with <img> tag support in 1993, to the Web Standards Project in 1998, and the CSS Zen Garden in 2003, those who care have been instrumental in shaping the Web. Web designers included. In more recent times I look to the web type revolution, driven and curated by both web designers, developers, and the typography community. Again, we’re teaching ourselves. The venues are open to all, and getting more amazing by the day.

Apart from the sites we’ve built, all the best peripheral resources that support our work are made by us. We’ve contributed vast amounts of code to our collective toolkit. We’ve created inspirational conferences like Brooklyn Beta, New Adventures, Web Directions, Build, An Event Apart, dConstruct, and Webstock. As a group, we’ve produced, written-for, and supported forward-thinking magazines like A List Apart, 8 Faces, Smashing Mag, and The Manual. We’ve written the books that distill our knowledge either independently or with publishers from our own community like Five Simple Steps and A Book Apart. We’ve created services and tools like jQuery, Fontdeck, Typekit, Hashgrid, Teuxdeux, and Firebug. That’s just a sample. There’s so many I haven’t mentioned. We did these things. What an extraordinary industry.

I know I flushed with anger and embarrassment that day at the christening party. Afterwards, I started to look a little deeper into what I do. I started to ask what exactly it means to be a web designer. I started to realise how extraordinary our community is. How extraordinary this profession is that we’ve created. How good the work is that we do. How delightful it is when it does work; for audiences, clients, and us. How fantastic it is that I help build the Web. Long may that feeling last. May it never go away. There’s so much still to learn, create, and make. This is my our party. Hi, I’m Jon; my friends and I are making Mapalong, and I’m a web designer.

What should all businesses do at least once, and do properly, and (like the title of this blog post suggests) designers need to do repeatedly? The answer is: Understanding the target market they’re catering to. Sure, that makes sense—but why are graphic designers any different? Why do this repeatedly? When you’re in business, you’re in the […]

Hello! I have updated this very popular post to include a free downloadable PDF of this checklist.  Preparation is key to successful management of any project, and design projects are no different. The more preparation that both client and designer do right at the start, the more smoothly the work will go. I find checklists […]

https://thenextweb.com/growth-quarters/2020/05/08/should-designers-learn-how-to-code-syndication/

There’s nothing better than finding a new design tool that will make your life a million times easier. After all, we all want to get our work done as quickly and efficiently as possible, and if there’s a tool for that, then I want it. And I did find some tools that I absolutely love […]

Read More at 5 Incredible Free Tools For Designers That You Need To Try

When you’re a freelancer and you start to work directly with your clients, there’s something crucial you need to know. Your design is not the one and only, most important aspect of the transaction. While presenting your client with an amazing design is the final goal, there are a lot of other things at stake […]

Read More at 7 Biggest Mistakes Freelance Designers Make That Will Ruin Their Career

As a designer, we’re overloaded with choices every day, but there are some apps that are absolutely worth your time and investment. Finding the best ones and most useful ones can be a difficult task, so we’re going to make things easy for you and give you our top 10 apps and websites we couldn’t […]

Read More at 10 Websites and Apps All Designers Should Be Using

Among all of the design agencies’ headaches, artwork proofing is probably one of the most acute ones. Forwarding countless numbers of requests, following up your approvers with reminders that they have a file to check, searching for their feedback in the endless pile of emails or messages… Quite daunting, to say the least, and quite […]

Whether you’re skipping Black Friday to concentrate on Cyber Monday or planning for a shopping spree during both days doesn’t matter. The subject here is Cyber Monday Deals, and there are some great ones indeed. Some Cyber Monday deals expire at midnight on Monday December 2nd, others are valid a day or two longer, and […]

The post 10 Top Cyber Monday Deals for Web Designers appeared first on WebAppers.

Designing is often as much as a science as it is an art. Using specific knowledge of human psychology & online behaviour, the science of creating effective websites that are optimized for business...

Web designers have skills and expertise that open up a whole world of possibilities. Many designers and developers choose to pursue personal projects in their own time, which can be a nice change of...

Click through to read the rest of the story on the Vandelay Design Blog.

There are a number of different ways to make money as a web designer aside from simply creating websites for clients. Many freelancers choose to supplement their income from client work by doing some...

Click through to read the rest of the story on the Vandelay Design Blog.

Designer Spotlight: Burnt Toast

Erin Haskell Gourde isn't afraid to mix it up a little.…

A designer-adaptive visual code (32, 32', 32″) includes a user-selected set glyphs (36, 36', 36″, 36'−), a user-selected set of allowable glyph orientations relative to a user-selected reference angle, and a user-selected spatial arrangement of the glyphs (36, 36', 36″, 36'″). The user-selected set of glyphs (36, 36', 36″, 36'″) has a size sufficient to recover geometric characteristics of at least one repeating code portion so as to generate an analyzable image when captured via a camera-equipped mobile device (26). The user-selected spatial arrangement of the glyphs (36, 36', 36″, 36'″) includes the at least one repeating code portion (34) to be visible on a surface from at least two different areas of the surface.

We step inside Oxfam's bridal room, which has been kept a closely guarded secret in Shirley- until today!

Humberto Corte's presentation on sound editing at the sound designers meetup

This story ran on Morning Edition and All Things Considered. Gloria Vanderbilt was an artist, heiress, designer and philanthropist who, for many Americans, may be best remembered for her blue jeans . She died at the age of 95. Vanderbilt's son, Anderson Cooper, announced her death Monday, airing an obituary for her on CNN. Vanderbilt had cancer, he said. "Earlier this month, we had to take her to the hospital. That's where she learned she had very advanced cancer in her stomach, and that it had spread," Cooper said. "What an extraordinary life. What an extraordinary mom. And what an incredible woman," he said, his voice quavering a bit at the end of the remembrance. Vanderbilt had full lips, eyes that turned up at the corners and a patrician bearing. She was, in fact, descended from shipping and railroad tycoon Cornelius Vanderbilt, one of the richest men in American history. She was born in 1924, and her father died shortly thereafter. Vanderbilt was raised by a beloved nurse because