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<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:dc="https://purl.org/dc/elements/1.1/" xmlns:media="http://search.yahoo.com/mrss/" xmlns:atom="http://www.w3.org/2005/Atom"> <channel> <atom:link href="https://www.creativebloq.com/feeds.xml" rel="self" type="application/rss+xml" /> <title><![CDATA[ Creative Bloq ]]></title> <link>https://www.creativebloq.com</link> <description><![CDATA[ ]]></description> <lastBuildDate>Wed, 01 May 2024 22:33:07 +0000</lastBuildDate> <language>en</language> <item> <title><![CDATA[ Finally, some big savings on Galaxy Watch 6 ]]></title> <dc:content><![CDATA[ <p>The Samsung Galaxy Watch 6 series is finally coming in for some great deals across the board. Released in July 2023, we rate it as one of the best Apple Watch alternatives, and right now you can <a data-analytics-id="inline-link" href="https://www.bestbuy.com/site/samsung-galaxy-watch6-aluminum-smartwatch-40mm-bt-cream" target="_blank" rel="nofollow">save $60 on standard 40mm and 44mm models at Best Buy</a> and <a data-analytics-id="inline-link" href="https://www.amazon.com/SAMSUNG-Classic-Stainless-Steel-Smartwatch-Bluetooth/dp/B0CCW8W3BQ" target="_blank" rel="nofollow">save up to $130 off Galaxy Watch 6 Classic</a> at Amazon.</p><p>The Galaxy Watch 6 is the successor to the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/deals/best-galaxy-watch-5-price">Galaxy Watch 5</a> model and boasts features like an ECG heart rate monitor and blood oxygen measuring. For more deals, see our roundup of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/deals/best-samsung-galaxy-watch-6-prices">best Samsung Galaxy Watch prices</a>.</p><h2 id="the-best-galaxy-watch-6-deals-today-2">The best Galaxy Watch 6 deals today</h2><div class="product"><a data-dimension112="c5a6befe-2166-4bd3-b342-4c6c2ec2eb5b" data-action="Deal Block" data-label="Galaxy Watch 6 40mm" data-dimension48="Galaxy Watch 6 40mm" href="https://www.bestbuy.com/site/samsung-galaxy-watch6-aluminum-smartwatch-40mm-bt-cream/6546702.p" target="_blank" rel="nofollow"><figure class="van-image-figure " ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1255px;"><p class="vanilla-image-block" style="padding-top:119.52%;"><img id="3oYNBGT6Xz84jwDqm37xpM" name="Watch 6 black Amazon.jpg" caption="" alt="" src="https://cdn.mos.cms.futurecdn.net/3oYNBGT6Xz84jwDqm37xpM.jpg" mos="" align="middle" fullscreen="" width="1255" height="1500" attribution="" endorsement="" credit="" class=""></p></div></div></figure></a><p><a href="https://www.bestbuy.com/site/samsung-galaxy-watch6-aluminum-smartwatch-40mm-bt-cream/6546702.p" target="_blank" rel="nofollow" data-dimension112="c5a6befe-2166-4bd3-b342-4c6c2ec2eb5b" data-action="Deal Block" data-label="Galaxy Watch 6 40mm" data-dimension48="Galaxy Watch 6 40mm"><strong>Galaxy Watch 6 40mm<br></strong></a><strong>Was: </strong><del>$299.99</del><strong><br>Now: </strong><a href="https://www.bestbuy.com/site/samsung-galaxy-watch6-aluminum-smartwatch-40mm-bt-cream/6546702.p" target="_blank" rel="nofollow">$239.99 at Best Buy</a><br><strong>Save: </strong>$60</p><p><a href="https://www.bestbuy.com/site/samsung-galaxy-watch6-aluminum-smartwatch-44mm-bt-graphite/6546698.p" target="_blank" rel="nofollow"><strong>Galaxy Watch 6 44mm</strong></a><br><strong>Was</strong>: <del>$329.99 </del><br><strong>Now</strong>: <a href="https://www.bestbuy.com/site/samsung-galaxy-watch6-aluminum-smartwatch-44mm-bt-graphite/6546698.p" target="_blank" rel="nofollow">$269.99 at Best Buy</a> <br><strong>Save</strong>: $60<br><br><strong>Overview: </strong>The Galaxy Watch 6 is the newest smartwatch from Samsung, and the most polished yet. It's a direct rival to the <a href="https://www.creativebloq.com/deals/best-apple-watch-series-8-price">Apple Watch Series 8</a> and other contenders such as the Google Pixel Watch and Fitbit series.</p><p><strong>Key features:</strong> Advanced Sleep Coaching, ECG / Irregular Heart Rhythm Notification, Personalized Heart Rate Zones, Bioelectrical Impedance Analysis, Skin Temperature, menstrual cycle tracking, and Blood Oxygen measuring.</p><p><strong>Release date: </strong>July 2023. </p><p><strong>Price history: </strong>While the price on the 40mm isn't quite the cheapest we've seen - we spotted it briefly at $228 at Amazon earlier in the year, the price on the larger 44mm version is the cheapest on record.</p><p><strong>Current price:</strong> <a href="https://www.samsung.com/us/watches/galaxy-watch6/buy/?" target="_blank" rel="nofollow">Samsung: $239.99 / $269.99</a> </p><p><strong>Review consensus: </strong>Our sister site, Tech Radar, gave it a solid 4-star rating and praised the updated design and improved wellness and sleep metrics. The only thing that really lets this smartwatch down is the mediocre battery life. </p><p>TechRadar: <a href="https://www.techradar.com/health-fitness/smartwatches/samsung-galaxy-watch-6-review" target="_blank">⭑⭑⭑⭑</a> | Tom's Guide: <a href="https://www.tomsguide.com/reviews/samsung-galaxy-watch-6" target="_blank">⭑⭑⭑⭑</a> |<br><a class="view-deal button" href="https://www.bestbuy.com/site/samsung-galaxy-watch6-aluminum-smartwatch-40mm-bt-cream/6546702.p" target="_blank" rel="nofollow" data-dimension112="c5a6befe-2166-4bd3-b342-4c6c2ec2eb5b" data-action="Deal Block" data-label="Galaxy Watch 6 40mm" data-dimension48="Galaxy Watch 6 40mm">View Deal</a></p></div><div class="product"><a data-dimension112="c5d12618-a069-43a6-acc9-e9a5c2366a7e" data-action="Deal Block" data-label="Galaxy Watch 6 Classic 43mm" data-dimension48="Galaxy Watch 6 Classic 43mm" href="https://www.samsung.com/us/watches/galaxy-watch6/buy/?" target="_blank" rel="nofollow"><figure class="van-image-figure " ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1255px;"><p class="vanilla-image-block" style="padding-top:100.00%;"><img id="NsUo7WSnwjiEzJs6eZ54d6" name="1714583162.jpg" caption="" alt="" src="https://cdn.mos.cms.futurecdn.net/NsUo7WSnwjiEzJs6eZ54d6.jpg" mos="" align="middle" fullscreen="" width="1255" height="1255" attribution="" endorsement="" credit="" class=""></p></div></div></figure></a><p><a href="https://www.amazon.com/SAMSUNG-Classic-Stainless-Steel-Smartwatch-Bluetooth/dp/B0CCW8W3BQ" target="_blank" rel="nofollow" data-dimension112="c5d12618-a069-43a6-acc9-e9a5c2366a7e" data-action="Deal Block" data-label="Galaxy Watch 6 Classic 43mm" data-dimension48="Galaxy Watch 6 Classic 43mm"><strong>Galaxy Watch 6 Classic 43mm<br></strong></a><strong>Was: </strong><del>$399.99</del><strong><br>Now: </strong><a href="https://www.amazon.com/SAMSUNG-Classic-Stainless-Steel-Smartwatch-Bluetooth/dp/B0CCW8W3BQ" target="_blank" rel="nofollow">$269.29 at Amazon</a><br><strong>Save: </strong>$130</p><p><a href="https://www.amazon.com/Samsung-Classic-Stainless-Steel-Smartwatch-Bluetooth/dp/B0CCW95RBD" target="_blank" rel="nofollow"><strong>Galaxy Watch 6 Classic 47mm</strong></a><br><strong>Was</strong>: <del>$399.99</del><br><strong>Now</strong>: <a href="https://www.amazon.com/Samsung-Classic-Stainless-Steel-Smartwatch-Bluetooth/dp/B0CCW95RBD" target="_blank" rel="nofollow">$269 at Amazon</a><br><strong>Save</strong>: $130<br><br><strong>Overview: </strong>The Galaxy Watch 6 Classic is a more elegant and polished version of Samsung's flagship smartwatch. It's made from stainless steel rather than Armor aluminium and has a larger screen and rotating bezel that makes it look more like a traditional watch.</p><p><strong>Key features:</strong> Measured Blood oxygen, cadence, calories burned, distance traveled, duration of exercise, duration of sleep stages, electrocardiography (ECG), laps swam, pace, skin temperature, accelerometer, ambient light sensor, barometer, compass, gyro sensor</p><p><strong>Release date: </strong>July 2023. </p><p><strong>Price history: </strong>These limited-time deals at Amazon are the cheapest prices we've seen yet on the Samsung Galaxy Watch 6 Classic. You'll need to be quick though because stock is running low.</p><p><strong>Current price:</strong> <a href="https://www.samsung.com/us/watches/galaxy-watch6/buy/?" target="_blank" rel="nofollow">Samsung: $399.99</a> </p><p><strong>Review consensus: </strong>Our sister site, Tech Radar, gave the watch a 4.5-star review describing it as a "bigger, bolder" Galaxy Watch with elegant looks.</p><p>TechRadar: <a href="https://www.techradar.com/health-fitness/smartwatches/samsung-galaxy-watch-6-classic-review" target="_blank">⭑⭑⭑⭑½</a> <br><a class="view-deal button" href="https://www.samsung.com/us/watches/galaxy-watch6/buy/?" target="_blank" rel="nofollow" data-dimension112="c5d12618-a069-43a6-acc9-e9a5c2366a7e" data-action="Deal Block" data-label="Galaxy Watch 6 Classic 43mm" data-dimension48="Galaxy Watch 6 Classic 43mm">View Deal</a></p></div><p>Below you can find the best deals and lowest prices on the Galaxy Watch 6 in your region.</p> ]]></dc:content> <link>https://www.creativebloq.com/news/galaxy-watch-6-classic-savings</link> <description> <![CDATA[ Save up to $130 on one of the best Apple Watch alternatives. ]]> </description> <guid isPermaLink="false">cDZmrQwggKAKfut89rywQD</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/L6xH5VNHeZNXjGaoxcWBbM.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Wed, 01 May 2024 17:16:46 +0000</pubDate> <category><![CDATA[deals]]></category> <category><![CDATA[Techwear]]></category> <category><![CDATA[smartwatch]]></category> <category><![CDATA[Hardware]]></category> <category><![CDATA[eCommerce]]></category> <category><![CDATA[Samsung]]></category> <category><![CDATA[Samsung Galaxy]]></category> <author><![CDATA[ joe.foley@futurenet.com (Joe Foley) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/L6xH5VNHeZNXjGaoxcWBbM.jpg"> <media:credit><![CDATA[Creative Bloq / Samsung]]></media:credit> <media:text><![CDATA[Galaxy Watch 6 deal]]></media:text> <media:title type="plain"><![CDATA[Galaxy Watch 6 deal]]></media:title> </media:content> </item> <item> <title><![CDATA[ How to screenshot on an iPad ]]></title> <dc:content><![CDATA[ <p>Taking a screenshot on your iPad is a handy skill, whether you want to capture a design idea or save an important message. Fortunately, it’s a straightforward process, and the same for most <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/ipad-model-list">iPad generations</a>, including the iPad Air & Pro. </p><p>But if you're new to iPad, or you've never had to do it before then it may not be immediately clear. That's why we've put together this guide, and even included two handy videos. So, what is the easiest way to screenshot on an iPad? </p><h2 id="how-to-take-a-screenshot-using-buttons-2">How to take a screenshot using buttons</h2><div class='jwplayer__widthsetter'><div class='jwplayer__wrapper'><div id='futr_botr_pceJ1Gur_EyURSsaj_div' class='future__jwplayer'><div id='botr_pceJ1Gur_EyURSsaj_div'></div></div></div></div><section class="howto-block"> <h3>01. Locate the buttons</h3> <p><p>On your iPad, find the <strong>Home button</strong> (for older models) or the <strong>Side volume buttons </strong>(for newer models without a Home button).</p></p> </section><section class="howto-block"> <h3>02. Press Simultaneously</h3> <p><p>Press and hold the <strong>Home button</strong> (or either <strong>side button</strong>) and the <strong>Power button</strong> at the same time.</p></p> </section><section class="howto-block"> <h3>03. Screen captured</h3> <p><p>You’ll see a quick flash, and your screenshot will be saved to your Photos app.</p></p> </section><h2 id="how-to-use-assistive-touch-2">How to use assistive touch</h2><div class='jwplayer__widthsetter'><div class='jwplayer__wrapper'><div id='futr_botr_hLvhw1fc_EyURSsaj_div' class='future__jwplayer'><div id='botr_hLvhw1fc_EyURSsaj_div'></div></div></div></div><section class="howto-block"> <h3>01. Make sure Assistive Touch is turned on</h3> <p><p><strong>Simply go to Settings > Accessibility > Touch > AssistiveTouch; </strong>make sure<strong> AssistiveTouch </strong>is<strong> ON </strong>(a little touch button will appear).</p></p> </section><section class="howto-block"> <h3>02. Choose your action</h3> <p><p>Custom action to decide whether you’d like to screenshot with either a single or double-tap, or a long press.</p></p> </section><section class="article__schema-question"><h3>How do I edit a screenshot on iPad?</h3><article class="article__schema-answer"><p>After snapping you can either edit directly by tapping the thumbnail that appears in the corner of your screen, or go to photos; Screenshots to view there.</p></article></section><p>If you need a new iPad, see our <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-ipad-for-drawing">best iPad for drawing</a> guide. Or see the deals we've found below:</p> ]]></dc:content> <link>https://www.creativebloq.com/how-to/screenshot-on-ipad</link> <description> <![CDATA[ The quickest and easiest ways to screen grab. ]]> </description> <guid isPermaLink="false">PbYKHb2MYPFBNpuSJhstUT</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/T8zzukUjnTqwYQtKKLSSGb.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Wed, 01 May 2024 16:00:01 +0000</pubDate> <category><![CDATA[Apple]]></category> <category><![CDATA[tech]]></category> <category><![CDATA[Creativity]]></category> <category><![CDATA[how to]]></category> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/T8zzukUjnTqwYQtKKLSSGb.jpg"> <media:credit><![CDATA[Ben Brady]]></media:credit> <media:text><![CDATA[How to screenshot on iPad, image of iPad with pencil on top]]></media:text> <media:title type="plain"><![CDATA[How to screenshot on iPad, image of iPad with pencil on top]]></media:title> </media:content> </item> <item> <title><![CDATA[ How to use Blender (and ChatGPT) to level up your video game assets ]]></title> <dc:content><![CDATA[ <p>Me and my team at <a data-analytics-id="inline-link" href="https://amcstudio.ro/" target="_blank">AMC Studio</a> had the chance to contribute to the video game Total War: Pharaoh, in partnership with <a data-analytics-id="inline-link" href="https://www.creativebloq.com/how-to/level-up-game-characters-with-creative-assembly">Creative Assembly</a> and Sega, which was released last year. Our task was to upgrade some in-game assets to a higher quality for use within the game’s marketing and menu. </p><p>Given the difference in quality, this practically meant an almost total remake of the assets, with the initial sources used more as a reference for certain aspects. There was nothing special in the brief, except that renders created in Blender were also requested among the deliverables. I did a double-take when I saw that. </p><p>I was about to use Blender as the lead software for the first time, almost two decades on from my initial encounter with it. If you're not too familiar with Blender, check out our rundown of <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/blender-all-you-need-to-know">Blender: everything you need to know,</a> as well as our <a data-analytics-id="inline-link" href="https://www.creativebloq.com/reviews/blender-4">3D artist's review of Blender 4.0</a>. Read the site's guide to the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/laptops-for-game-development">best laptops for game development</a> if you're looking to upgrade.</p><p>Over the years, I’ve used Blender more discreetly, and saw how it has evolved from software for masochistic enthusiasts into an industry benchmark. But I won’t necessarily talk about Blender now, although I’ll use it as an example. Instead, I want to talk about how the most important aspect of my work is iteration.</p><h2 id="how-i-levelled-up-total-war-apos-s-assets-2">How I levelled up Total War's assets</h2><p>Here is a closer look at my process of working on upgrading in-game assets to higher quality for Total War: Pharaoh.</p><section class="howto-block"> <h3>01. Iteration is key</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/LNP2FyDQg4Q5gc9Faqghkg.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/LNP2FyDQg4Q5gc9Faqghkg.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Mihai Dobrin)</div></figure> <p><p>Like many others, I grew up believing in the myth of innate talent and mastery, and of course I was disappointed when I actually realised that very little came out perfectly on my first attempt. In the meantime, what I’ve learned is how to simulate this mastery with working methods that tolerate my mistakes, and allow me to try as many variations as possible before submitting one of them to the lead, art director, or client. </p></p><p><p>For me as a 3D artist, each asset isn’t just a finished product, it’s a structure that generates that finished product. Ideally I’d like each stage of asset creation to be as fluid as possible, favouring changes at any moment, whether it’s because I want to see another version or get feedback. </p></p><p><p>Of course, this is practical. Not necessarily impossible, but often challenging. However, any step in that direction is okay. This is my approach in this sense. I won’t go into all the details of how these assets were created as there were so many it would need an entire magazine. They’re not necessarily complicated, but I thought that discussing my approach to an asset was more suitable</p></p> </section><section class="howto-block"> <h3>02. Why Blender is the perfect tool</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/QK8vnhp5Y9JwP4gJHvwSfh.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/QK8vnhp5Y9JwP4gJHvwSfh.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Mihai Dobrin)</div></figure> <p><p>I don’t think I’m saying anything new here. I believe that everyone has an idea of how to use this sort of iterative workflow. For some that might mean speed sculpting, speed painting, or any other method that generates a result in the shortest time while remaining non-destructive. </p></p><p><p>For me, it means convincing the computer to do as many of the repetitive tasks as possible. It’s not always easy, but becomes quite fun once you start speaking the machine’s language. This is where I return to Blender. </p></p><p><p>Why is it cool in this regard? Because it’s open source and is built with open source in mind. Blender played its cards openly from the beginning. While Maya and <a href="https://www.creativebloq.com/reviews/3ds-max-2024">3ds Max</a> used and built their scripting languages, Blender used Python, which proved an excellent choice. Today even Maya uses it, as do many other applications that interface with AI systems. </p></p><p><p>Python is an easy, extremely powerful, and well-maintained language. And because Blender has been open from the start, there is a vast community willing and eager to help. This entire library of scripts or code snippets on the internet has been helpful when generating code with ChatGPT. From my experience, the code generated for Blender works well, unlike that for <a href="https://www.creativebloq.com/reviews/maya-2020">Maya</a>.</p></p> </section><section class="howto-block"> <h3>03. Upgrading Ramesses’ scaled armour</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/23NsNCxar9tgNkPDBHAURg.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/23NsNCxar9tgNkPDBHAURg.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Mihai Dobrin)</div></figure> <p><p>Onto the project. Total War’s Ramesses is clad in bronze scale armour. The in-game model uses a simple, optimised mesh with the heavy lifting done by the Normal maps and ambient occlusion. For our model, this approach wasn’t suitable as each scale needed its low-poly geometry. Hand-placing hundreds of scales was out of the question, and even though decimating might have worked, it would cause issues with the UV map. Even with a clever workaround there would still be a lot of manual work.</p></p> </section><section class="howto-block"> <h3>04. ChatGPT scripts</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/mShSPNb5stmSj4qSZqi9Xg.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/mShSPNb5stmSj4qSZqi9Xg.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Mihai Dobrin)</div></figure> <p><p>I took the high-poly armour and noticed that each scale had exactly the same geometry, and the indices were similarly located for each. I then created a low-poly scale and opened up ChatGPT. I asked it to make me a script that would take the low-poly scale, find the nearest corresponding vertex index from the high-poly version for each vertex on the low-poly, duplicate the low-poly, and then place the vertices at the corresponding position on the next high-poly scale. Job done! </p></p><p><p>This time I was lucky as the high-poly scale wasn’t decimated, although I might have found an answer in that case. On the other hand this approach, even with the help of ChatGPT, means thinking like a programmer. ChatGPT is effective if you can describe the problem algorithmically, but not everyone is familiar with that.</p></p> </section><section class="howto-block"> <h3>05. Thinking in layers</h3> <p><p>What industry artists are familiar with are workflows and filters using layers. A layer stack similar to that in Photoshop or <a href="https://www.creativebloq.com/reviews/adobe-substance-3d">Substance 3D Painter</a> is just a series of nodes and filters. If I began describing the style that involves control nodes as visual programming, many artists would skip over it. But if you take it one step further from the layer stack, it might become easier. </p></p><p><p>If I say that Geometry nodes are actually custom modifiers, it might seem even more enticing. For those who aren’t familiar with modifiers, I’ll try to describe why they’re so essential for a nondestructive workflow. They’re just like the filters in <a href="https://www.creativebloq.com/tag/photoshop">Photoshop</a>, but modify the geometry rather than pixels. Many aspects in Blender are controlled using modifiers; even a character’s rig is applied to the geometry using one. </p></p><p><p>The skeleton, called Armature in Blender, is a geometry filter, so when you pose it or animate it, it’s basically modifying the modifier’s parameters. Just like the filters in Photoshop, if you remove it, the geometry reverts to its previous shape or properties.</p></p> </section><section class="howto-block"> <h3>06. Ramesses’ hair</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/BkvegEKtxnyaJDUbRAZStg.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/BkvegEKtxnyaJDUbRAZStg.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Mihai Dobrin)</div></figure> <p><p>I was determined to generate the character’s hair from the skin’s pores, just like in real life. To do this I took the Normal map and, with a Geometry node, loaded and filtered the texture so that it could be used as a mask for placing hair strands. </p></p><p><p>At first glance, some Geometry nodes may seem complicated, especially if you didn’t make them yourself. However, once you start adding node by node everything becomes clear and, honestly, I think it can be the most enjoyable aspect. You’ll constantly start to think about accomplishing each task using nodes.</p></p> </section><section class="howto-block"> <h3>07. Tackling Irsu's scaled armour</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/MSy8gkQ3XtsvovYseH8T4h.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/MSy8gkQ3XtsvovYseH8T4h.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Mihai Dobrin)</div></figure> <p><p>Similarly for the second character, Irsu, I had to replace the highpoly model provided to us by the client. To speed up the process I skipped the ZBrush stage and created the fine details directly in Blender, and had the opportunity to use Geometry nodes. </p></p><p><p>It started with a few curves and a scale, with modifiers applied to these curves. Unlike Maya, curves in Blender have control over tilt at each control point, so I can adjust them anywhere along the length of the curve. The first of the modifiers is a Geometry node. I generated and distributed the scales along the curves with adjustments made for rotation and location variation.</p></p> </section><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1465px;"><p class="vanilla-image-block" style="padding-top:55.09%;"><img id="wRohrxHkCw694AJ6waBhxh" name="7b TDW309.t_AMC_Total_War.image11.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" src="https://cdn.mos.cms.futurecdn.net/wRohrxHkCw694AJ6waBhxh.jpg" mos="" align="middle" fullscreen="" width="1465" height="807" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">An inside view of the custom modifier. Even though it looks complicated, the flow is easy to follow </span><span class="credit" itemprop="copyrightHolder">(Image credit: Mihai Dobrin)</span></figcaption></figure><p>Under the hood it gets a bit more complicated because of the implementation of variation on different axes, but overall the functionality is quite simple. After applying the modifier, the armour in that area looks like this:</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1600px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="jLECxEBBk3UBkFtJpwZRxh" name="TDW309.t_AMC_Total_War.image1.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" src="https://cdn.mos.cms.futurecdn.net/jLECxEBBk3UBkFtJpwZRxh.jpg" mos="" align="middle" fullscreen="" width="1600" height="900" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Mihai Dobrin)</span></figcaption></figure><section class="howto-block"> <h3>08. More modifiers</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/iqZdA2tzFULw5VdQufbhMh.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/iqZdA2tzFULw5VdQufbhMh.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Mihai Dobrin)</div></figure> <p><p>The next modifiers were a Surface Subdivision modifier and three more Geometry nodes for fine details. These basically used multiple Perlin noise generators at different resolutions. At this point, the armour was already good enough that it didn’t need to go through <a href="https://www.creativebloq.com/features/zbrush-everything-you-need-to-know">ZBrush</a>. </p></p><p><p>The same curves were used for placing the low-poly version, so a simple series of modifiers were responsible for a large portion of the armour workflow, which could be changed at any time. </p></p><p><p>The transition from classic modelling to the process using Geometry nodes is just as vital and disruptive as the transition from Photoshop to Substance 3D Painter for textures. These are a few simple examples to highlight an essential aspect that’s well implemented in Blender; it’s all about the flow of information.</p></p> </section><section class="howto-block"> <h3>09. Fluid data</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/6BHMy9zZSRYb6ucFTy2n9h.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/6BHMy9zZSRYb6ucFTy2n9h.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Mihai Dobrin)</div></figure> <p><p>As a small example of the fluidity of data in Blender, here’s how I created the fringes on Irsu’s armour. Essentially I used the Hair generator and created a handful of control curves. I interpolated them, added modifiers for noise, frizz and trimming, and finally added my Geometry node for the generating fringes. </p></p><p><p>I followed a similar process for the texturing. Each strand inherits the properties of the surface it’s generated from, so I could colour some blue and others orange. I also added variation directly from the shader. This way I avoided complications with low geometry, UVs and space on the texture. This functionality isn’t out of the box, but a hair strand is essentially a curve, and you can use and convert a curve any way you like.</p></p> </section><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:800px;"><p class="vanilla-image-block" style="padding-top:160.00%;"><img id="6UHYNNKSxBTXJj7iYuwych" name="TDW309.cover.falcon_sega_amc_irsu_final_closeup_01.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" src="https://cdn.mos.cms.futurecdn.net/6UHYNNKSxBTXJj7iYuwych.jpg" mos="" align="middle" fullscreen="" width="800" height="1280" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">A final look at Irsu. </span><span class="credit" itemprop="copyrightHolder">(Image credit: Mihai Dobrin)</span></figcaption></figure><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:800px;"><p class="vanilla-image-block" style="padding-top:153.88%;"><img id="zHuYWKwdyrkF7niiXGXish" name="TDW309.t_AMC_Total_War.amc_studio_ramesses_old_detail.jpg" alt="Using Blender to create levelled-up version of a character from Total War: Pharaoh" src="https://cdn.mos.cms.futurecdn.net/zHuYWKwdyrkF7niiXGXish.jpg" mos="" align="middle" fullscreen="" width="800" height="1231" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">And Ramesses. </span><span class="credit" itemprop="copyrightHolder">(Image credit: Mihai Dobrin)</span></figcaption></figure><h2 id="using-blender-quick-tips-2">Using Blender: quick tips</h2><p>Here are a few quick tips for getting more out of Blender.</p><section class="article__schema-question"><h3>The power of nodes</h3><article class="article__schema-answer"><p>Why would you want to do everything with nodes? The simplest answer is that you can reuse them. Every time you encounter something new that can be optimised this way, it’s better to spend a little extra time as an investment for the future, even if the future actually means creating a new version with more details or functionality.</p></article></section><section class="article__schema-question"><h3>A tool is not a finished product </h3><article class="article__schema-answer"><p>By design, Blender tends to be more of a tool compared to other applications that, even if they have different modules, feel more like a series of black boxes linked together. For example, skinning in Blender is done with the help of Vertex Groups, which are nothing more than a floating-point value from zero to one associated with a vertex. Access to it isn’t restricted solely to deforming your geometry using a skeleton. You could write your dog’s name with ASCII codes in a geometry group if you wanted to.</p></article></section><p><em>See more of AMC Studio’s work on Total War: Pharaoh at the studio's </em><a data-analytics-id="inline-link" href="https://www.artstation.com/amcrostudio" target="_blank"><em>ArtStation page</em></a><em>. Total War: Pharaoh is developed by Creative Assembly and published by Sega. AMC Studio worked in collaboration with the internal teams. AMC is part of </em><a data-analytics-id="inline-link" href="https://www.keywordsstudios.com/en/" target="_blank"><em>Keywords Studios</em></a><em>, the global technical and creative services provider to the video games industry.</em></p><h2 id="get-more-software-tutorials-at-3d-world-2">Get more software tutorials at 3D World</h2><p>This content originally appeared in 3D World magazine, the world's leading CG art magazine. 3D World is on sale in the UK, Europe, United States, Canada, Australia and more. Limited numbers of 3D World print editions are available for delivery from our online store (the shipping costs are included in all prices). <a data-analytics-id="inline-link" href="https://www.magazinesdirect.com/az-magazines/6936329/3d-world-magazine-subscription.thtml?j=TDW" target="_blank">Subscribe to 3D World at Magazines Direct</a>.</p> ]]></dc:content> <link>https://www.creativebloq.com/how-to/use-blender-to-level-up-your-video-game-assets</link> <description> <![CDATA[ Upgrading the assets for hit video game Total War: Pharaoh ]]> </description> <guid isPermaLink="false">bG5q8DVnGXNY2T4H8sHn8P</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/mNm3nCZAHWsUWCoGQQ3JWh.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Wed, 01 May 2024 15:00:57 +0000</pubDate> <category><![CDATA[Tutorial]]></category> <category><![CDATA[Blender]]></category> <category><![CDATA[magcontent]]></category> <category><![CDATA[3D modelling]]></category> <category><![CDATA[game art]]></category> <category><![CDATA[game]]></category> <category><![CDATA[game development]]></category> <category><![CDATA[3D]]></category> <category><![CDATA[CGI]]></category> <category><![CDATA[Video games]]></category> <category><![CDATA[entertainment]]></category> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/mNm3nCZAHWsUWCoGQQ3JWh.jpg"> <media:credit><![CDATA[Mihai Dobrin]]></media:credit> <media:text><![CDATA[Using Blender to create levelled-up version of a character from Total War: Pharaoh]]></media:text> <media:title type="plain"><![CDATA[Using Blender to create levelled-up version of a character from Total War: Pharaoh]]></media:title> </media:content> </item> <item> <title><![CDATA[ Ingenious national park rebrand is packed with natural symbolism ]]></title> <dc:content><![CDATA[ <p>The Aruba Conservation Foundation (ACF) has undergone a stunning metamorphosis, debuting a stylish new brand identity that encompasses its dedication to preserving nature. When a national park undergoes a transformative rebrand, it's natural to assume that the sole aim is to increase footfall – for the Aruba Conservation Foundation, it's a matter of pride. </p><p>The <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/the-best-rebrands-of-the-2010s">best rebrands</a> have a strong ethos at their core that guides the design process from conception to its debut. Positioning itself as the 'Voice of Nature', the ACF embodies a sense of duty to the natural landscape – a theme that echoes through the design, from the organic logo to the earthy colour palette. </p><a target="_blank"><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:2500px;"><p class="vanilla-image-block" style="padding-top:56.24%;"><img id="QaajJ5oSYFbvnbgAcNmfwG" name="ACF-Brand-OOH-How-Agency-01-L-1920x1080L 2-min.png" alt="Aruba Conservation Foundation rebrand" src="https://cdn.mos.cms.futurecdn.net/QaajJ5oSYFbvnbgAcNmfwG.png" mos="" align="middle" fullscreen="1" width="2500" height="1406" attribution="" endorsement="" class="expandable"></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">The ACF is positioned as a vessel to amplify the voice of Aruba. </span><span class="credit" itemprop="copyrightHolder">(Image credit: How&How)</span></figcaption></figure></a><p>Working with branding agency <a data-analytics-id="inline-link" href="https://how.studio/" target="_blank">How&How</a>, the ACF rebrand began by uncovering the core of its identity. To establish the brand as a conservation authority, How&How set about creating a refreshed brand that spoke to the Aruban community, prompting them "to remember their oneness with the natural world."</p><p>“This metaphor also laid the groundwork for our visual identity,” explains Cat How, founder and creative director of How&How. The design "showcases humanity’s spiritual connection to nature in its logo while drawing on iconography to bring focus to specific species and ecosystems," she adds. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:838px;"><p class="vanilla-image-block" style="padding-top:56.32%;"><img id="fWSbhJsJamU3wcZhwWenTo" name="ACF-Brand-Logo-Explainer-How-Agency-02-L-1920x1080.gif" alt="Aruba Conservation Foundation logo" src="https://cdn.mos.cms.futurecdn.net/fWSbhJsJamU3wcZhwWenTo.gif" mos="" align="middle" fullscreen="" width="838" height="472" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">The logo represents key features of Aruba's diverse landscape </span><span class="credit" itemprop="copyrightHolder">(Image credit: How&How)</span></figcaption></figure><p>At the centre of the ACF's new brand identity is an innovative logo design that blends the three core components that bring Aruba to life. "The ACF team wanted a strong symbol - different to other parks and unique in the sector – that also represented elements of the park itself: namely waves (for marine), cacti (for terrestrial) and then three heads which could be seen as cacti flowers, but also humans - in order to represent collective action," Cat tells Creative Bloq. </p><p>It wasn't a project without hurdles, as Cat shared the challenge of fitting so many diverse elements into a neat and refined brand identity. According to Cat, "the symbol took a few rounds to crack," due to ACF's focus on representing the themes of land, sea and people under one logo design.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:802px;"><p class="vanilla-image-block" style="padding-top:56.36%;"><img id="NaGQhrzHV9NYiHe8G8KzxN" name="ACF_Brand-Colours-How-Acency-L-1920x1080.gif" alt="Aruba Conservation Foundation rebrand" src="https://cdn.mos.cms.futurecdn.net/NaGQhrzHV9NYiHe8G8KzxN.gif" mos="" align="middle" fullscreen="" width="802" height="452" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">The colour palette takes inspiration from Aruba's rich organic landscape. </span><span class="credit" itemprop="copyrightHolder">(Image credit: How&How)</span></figcaption></figure><p>Taking inspiration from the rich geographical location, the new look features a colour palette of rich earth tones, offset by bright motifs that represent the diversity of the land. "The complex colour palette was designed to match the different geographical areas of the National Park – dunes, marshes, the ocean and scrubland," says Cat. "Each one had a brighter accent colour, and was padded out with a few more neutrals. This was used alongside a modular illustration system where plants and animals are able to ‘grow’ to fit whatever size of layout they need," she adds.</p><p>Cat thanks the ACF team for their collaboration, sharing that the new brand identity is a "testament to how having brave and kind clients who trust what we do, leads to great results." What stands is a sophisticated and contemporary brand identity that serves as a reminder of the innate beauty of nature. Educating, empowering and exemplifying classy, considered design, it's a masterclass in how a simple concept can be transformed into a timeless and meaningful identity. </p><div class="inlinegallery inline-layout"><div class="inlinegallery-wrap" style="display:flex; flex-flow:row nowrap;"><div class="inlinegallery-item" style="flex: 0 0 auto;"><span class="slidecount">Image 1 of 4</span><figure class="van-image-figure " data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:3840px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="ao9EJYkXRip43kXtzhwxzc" name="ACF-Brand-EntranceSign-How-Agency-10-L-1920x1080.jpg" alt="Aruba Conservation Foundation rebrand" src="https://cdn.mos.cms.futurecdn.net/ao9EJYkXRip43kXtzhwxzc.jpg" mos="" link="" align="" fullscreen="" width="3840" height="2160" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=""><span class="credit" itemprop="copyrightHolder">(Image credit: How&How)</span></figcaption></figure></div><div class="inlinegallery-item" style="flex: 0 0 auto;"><span class="slidecount">Image 2 of 4</span><figure class="van-image-figure " data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1920px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="irH5hyxey4uu9yYqKVavoB" name="ACF.jpg" alt="Aruba Conservation Foundation logo" src="https://cdn.mos.cms.futurecdn.net/irH5hyxey4uu9yYqKVavoB.jpg" mos="" link="" align="" fullscreen="" width="1920" height="1080" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=""><span class="credit" itemprop="copyrightHolder">(Image credit: How&How)</span></figcaption></figure></div><div class="inlinegallery-item" style="flex: 0 0 auto;"><span class="slidecount">Image 3 of 4</span><figure class="van-image-figure " data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:3500px;"><p class="vanilla-image-block" style="padding-top:56.23%;"><img id="xJnLzzWuUqVskNbxZiREBX" name="ACF-Brand-OOH-How-Agency-15-L-1920x1080 3-min.png" alt="Aruba Conservation Foundation rebrand" src="https://cdn.mos.cms.futurecdn.net/xJnLzzWuUqVskNbxZiREBX.png" mos="" link="" align="" fullscreen="" width="3500" height="1968" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=""><span class="credit" itemprop="copyrightHolder">(Image credit: How&How)</span></figcaption></figure></div><div class="inlinegallery-item" style="flex: 0 0 auto;"><span class="slidecount">Image 4 of 4</span><figure class="van-image-figure " data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:3840px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="GV4XybhbocvUwPV24MxxDi" name="ACF-Brand-Brochure-How-Agency-12-L-1920x1080 1.jpg" alt="Aruba Conservation Foundation rebrand" src="https://cdn.mos.cms.futurecdn.net/GV4XybhbocvUwPV24MxxDi.jpg" mos="" link="" align="" fullscreen="" width="3840" height="2160" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=""><span class="credit" itemprop="copyrightHolder">(Image credit: How&How)</span></figcaption></figure></div></div></div><p>For more design inspiration, check out the story behind the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/rspca-rebrand">RSPCA's 50-year rebrand</a>. If you're after more nature-inspired branding, check out the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/natural-landscapes-rebrand">National Landscapes rebrand</a> that embraces imperfection for all the right reasons. </p> ]]></dc:content> <link>https://www.creativebloq.com/news/aruba-conservation-foundation-rebrand</link> <description> <![CDATA[ How&How's design showcases "humanity's spiritual connection to nature". ]]> </description> <guid isPermaLink="false">CMTNwPgVPWyhchX2JnWoGF</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/ZDdxiA4VgrB3hrEvx2H3Zn.gif" type="image/gif" length="0"></enclosure> <pubDate>Wed, 01 May 2024 13:00:00 +0000</pubDate> <category><![CDATA[News]]></category> <category><![CDATA[Graphic Design]]></category> <category><![CDATA[Design]]></category> <category><![CDATA[Branding]]></category> <category><![CDATA[Logo ]]></category> <category><![CDATA[Logos]]></category> <category><![CDATA[logo design]]></category> <category><![CDATA[Creativity]]></category> <category><![CDATA[Inspiration]]></category> <media:content type="image/gif" url="https://cdn.mos.cms.futurecdn.net/ZDdxiA4VgrB3hrEvx2H3Zn.gif"> <media:credit><![CDATA[How&How]]></media:credit> <media:text><![CDATA[Aruba Conservation Foundation rebrand]]></media:text> <media:title type="plain"><![CDATA[Aruba Conservation Foundation rebrand]]></media:title> </media:content> </item> <item> <title><![CDATA[ Disney’s Mufasa: The Lion King causes a live-action design dispute ]]></title> <dc:content><![CDATA[ <p>Disney just can't quit the live-action remakes – and fans are fed up. After dropping a teaser trailer for its upcoming film Mufasa: The Lion King, fans flocked to socials to share their strong opinions on the live-action prequel. The general consensus? Leave our childhood classics alone. </p><p>It's not the first time that <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/disney-live-action-characters">Disney's live-action character design</a> has caused controversy, with many favouring the classic hand-drawn animation style. The CGI-ification of Disney's most beloved films has consistently sparked backlash from fans, which begs the question – who's asking for these live-action remakes? </p><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/MjQG-a7d41Q" allowfullscreen></iframe></div></div><p>Mufasa: The Lion King will be an origin story and continuation of the live-action 2019 Lion King (not to be confused with the classic 1994 version that we know and love). It will explore the origins of Simba's father Mufasa, extending the canon of the original franchise. At least it's not directly ruining one of my childhood favourites – Disney already did that five years ago. </p><p>While the CGI animation in the trailer is impressively detailed, it has nothing on the charm of the original Lion King. I'm not the only one who thinks so, as many fans took to socials to share similar thoughts. "Looks like Disney didn’t learn anything from the Lion King remake," one Instagram commenter chimed in. "Nobody asked for this..." another replied while one user scathingly said, "This looks so lifeless." </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1080px;"><p class="vanilla-image-block" style="padding-top:125.00%;"><img id="qTqvoi5EjxqobBCCKRo4LG" name="GMVWApCXAAAqnbY.jpg" alt="Mufasa: The Lion King poster" src="https://cdn.mos.cms.futurecdn.net/qTqvoi5EjxqobBCCKRo4LG.jpg" mos="" align="middle" fullscreen="" width="1080" height="1350" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Disney)</span></figcaption></figure><p>One Instagram comment, in particular, sums it up the best: "Disney, please stop with these soulless CGI remakes.. the people just want magical original stories that made us love Disney in the first place! Let the animators dream and tell stories again." I couldn't have put it better myself. More originals and more classic animation, please. </p><p>If you're a Disney fan, don't miss the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/disney-character-design-conspiracy-theories">Disney character design conspiracy theories</a> that blew our minds. For more movie magic check out <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/disney-design-secrets">(Disney's Version) of Taylor Swift's Tortured Poets Department</a> album art. </p> ]]></dc:content> <link>https://www.creativebloq.com/news/disney-mufasa-cgi</link> <description> <![CDATA[ The people yearn for hand drawn animation. ]]> </description> <guid isPermaLink="false">AnziS9G6bDAtzjEAvpe2on</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/FddZsu5hhQpMJajWfEM5tL.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Wed, 01 May 2024 12:00:00 +0000</pubDate> <category><![CDATA[News]]></category> <category><![CDATA[Disney]]></category> <category><![CDATA[Animation]]></category> <category><![CDATA[CGI]]></category> <category><![CDATA[Film]]></category> <category><![CDATA[Movies]]></category> <category><![CDATA[Posters]]></category> <category><![CDATA[Design]]></category> <category><![CDATA[Character design]]></category> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/FddZsu5hhQpMJajWfEM5tL.jpg"> <media:credit><![CDATA[Disney]]></media:credit> <media:text><![CDATA[Mufasa: The Lion King poster]]></media:text> <media:title type="plain"><![CDATA[Mufasa: The Lion King poster]]></media:title> </media:content> </item> <item> <title><![CDATA[ The rise of sonic design: how sound is key to brand success ]]></title> <dc:content><![CDATA[ <p>Multi-sensory branding is on the rise because of one simple human truth; consumers perceive the world using <em>all</em> of their senses. For a brand to succeed in the modern age, it needs to be more than meets the eye, and savvy marketers are building holistic expressions that consider what people see, hear, feel and believe. </p><p>When your messaging uses a strategic combination of visual and sonic branding, all boats rise with the tide. Visual branding works on a cognitive level, sonic assets deliver on a deeper emotional level. When they’ve been designed to work in harmony, these sensory dance partners leave a lasting impression that improves performance exponentially (see our pick of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/most-popular-sonic-logos-2021">best sonic logos</a>).</p><h2 id="the-impact-of-sonic-branding-2">The impact of sonic branding</h2><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/SE1B3N_a7fE" allowfullscreen></iframe></div></div><p>Think of some of the world’s classic visual icons — the Golden Arches, Apple, AT&T’s Globe or the Corona wordmark. These brands have also developed their ecosystems to include distinct audio cues and sonic signatures. “Ba-da-ba-ba-ba” is just as evocative as the typography of McDonalds. AT&T’s “<a data-analytics-id="inline-link" href="https://mademusicstudio.com/case-studies/att/" target="_blank"><u>chimes</u></a>'' are the brand’s second most recognizable asset. Corona just launched a sonic identity that evokes beach relaxation within seconds and if you turn on a MacBook with your eyes closed you still know exactly who made it. </p><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/fvxOIv7SVPo" allowfullscreen></iframe></div></div><p>Yet some of the old guard still raise their eyebrows at the concept of sonic branding. Many think of it as intangible, or too good to be true despite the data showing it improves appeal, attribution and purchase intent. Some naysayers prefer a rudimentary type of “sonic branding” that only exists to score their logo animations. Unfortunately that type of waveform window dressing falls flat in audio-only environments where their visuals can’t be seen. </p><p>To be fair, if your only reference points are bad jingles or the 15 brands using the sound of a doorbell, it’s easy to assume the whole discipline is flimsy and ephemeral. It doesn’t help that a wave of music houses jumped on the bandwagon and are selling poor imitations to unsuspecting clients (“Would you like one note or two with your endcard, Madam?”)</p><p>Before I started working in the world of sonic branding, I was skeptical myself. But all that changed when I discovered the interconnected similarities between great sonic branding and the way visual brands are built.</p><p>Just as a visual identity can instantly evoke a sense of familiarity and trust, a strategically crafted sonic identity can convey authenticity, brand personality, and a variety of specific attributes. Although Sonic Logos or Mnemonics get most of the headlines, every sound or music choice a brand makes leaves a lasting impression on consumers. From advertising and apps to social, experiential and phygital. </p><p>A global brand such as <a data-analytics-id="inline-link" href="https://mademusicstudio.com/case-studies/american-express/" target="_blank"><u>American Express</u></a> needs a sonic ecosystem that can span their entire customer journey. They craft every interaction from call centers, to mobile payments, to airport lounges (where they also have a branded scent). Their distinct sound and music helps Amex amplify feelings of strength, trust and a sense of adventure for their customers. When you interact with them, you feel like a part of something. You don’t live life without it. </p><h2 id="the-data-2">The data</h2><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/owGykVbfgUE" allowfullscreen></iframe></div></div><p>There’s also scientific backing behind that shows just how effective sonic branding can be. Many research studies <a data-analytics-id="inline-link" href="https://www.ipsos.com/en/power-you-why-distinctive-brand-assets-are-driving-force-creative-effectiveness" target="_blank"><u>show</u></a> that ads with a sonic branding cue see an 850% uplift in branded attention. Consider this, if you hear a familiar jaunty whistle from across the room, you’ll probably clock it was an Old Spice commercial without paying any attention to it. In fact, that Old Spice whistle might in your head right now!</p><p>When sonic and visual elements are aligned, they reinforce one another, creating a more complete, unified brand experience. In our work with PepsiCo, we’ve seen significant uplift for their visual brand assets when sonic cues are applied. According to audio research company Veritonic, the introduction of sonic assets for the chip brand Tostitos saw a 38% increase in brand recall after only six months in market. Not only is audio a powerful tool on its own, it can actually supercharge the rest of a brand’s architecture.</p><h2 id="how-to-succeed-at-sonic-branding-2">How to succeed at sonic branding</h2><p>When we’re partnering with brands, we ensure that elements of the strategy and discovery phase feel almost identical to visual brand building. Analyzing the market, the competitors, target consumers and place in culture. Most of our clients are dipping their toes into sonic for the first time, so there needs to be an extra layer of education and it helps to compare it with development they’re more familiar with. </p><p>We become musical method actors, absorbing brand essence, purpose and personality and then translate that essence into sound. We develop concepts, emotional territories, adding instrumentation and audio design to bring a brand’s distinct, inevitable sound to life. Research adds confidence that the work is effective and will produce the desired results.</p><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/35TlB6kpH4M" allowfullscreen></iframe></div></div><p>When we collaborated with Wieden+Kennedy on the global sonic identity for <a data-analytics-id="inline-link" href="https://mademusicstudio.com/home/modal/corona" target="_blank"><u>Corona</u></a>, we needed to craft a musical expression that would be just as powerful as their other iconic assets - the flint bottle, crown logo, lime ritual, and association with the beach. We approached it as we do with every project: with the same level of rigor, craft, design and data as our W+K partners. We worked together to capture the soul of the brand, creating a system of assets that work in harmony with Corona’s brand architecture, delivering KPIs that will stand the test of time. One client said we’d caught sonic lightning in a bottle and it’s been incredible to see how quickly consumers have embraced it in campaigns all over the world.</p><h2 id="why-it-matters-2">Why it matters</h2><p>So why does any of this matter? Brands need to tap into both reason and emotion because 90% of all decision-making takes place in the subconscious. Whether you’re buying a car or a candy bar, there’s a degree of emotional impulse that makes your choice just feel right. In a world where consumers are bombarded with messages from every direction, multi-sensory branding helps cut through the clutter and makes people feel something.</p><p>A holistic approach that values visual and sonic branding equally creates a lasting impression in the hearts and minds of consumers. It enables modern brands to make the leap from marketing into culture and become part of the fabric of our lives. So much so, we even start completing their sentences for them. Ba-dap-ba-ba-bah, I’m…</p><p><em>For more branding and advertising inspiration, see our </em><a data-analytics-id="inline-link" href="https://www.creativebloq.com/tag/best-adverts-by-decade"><em>best adverts by decade</em></a><em> series.</em></p> ]]></dc:content> <link>https://www.creativebloq.com/features/sonic-branding</link> <description> <![CDATA[ McDonald's, Old Spice and Corona prove the best branding is multi-sensory. ]]> </description> <guid isPermaLink="false">UP27mAvcPEtfQafrwswRMa</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/iciwv4kzB7QUaaMTaDGHe9.png" type="image/png" length="0"></enclosure> <pubDate>Wed, 01 May 2024 11:00:22 +0000</pubDate> <category><![CDATA[Graphic Design]]></category> <category><![CDATA[Branding]]></category> <category><![CDATA[sonic branding]]></category> <category><![CDATA[Creativity]]></category> <category><![CDATA[logo design]]></category> <media:content type="image/png" url="https://cdn.mos.cms.futurecdn.net/iciwv4kzB7QUaaMTaDGHe9.png"> <media:credit><![CDATA[McDonald's]]></media:credit> <media:text><![CDATA[McDonald's logo]]></media:text> <media:title type="plain"><![CDATA[McDonald's logo]]></media:title> </media:content> </item> <item> <title><![CDATA[ Marvelous Designer 2024 review: now with improved Unreal Engine 5 support ]]></title> <dc:content><![CDATA[ <div class="fancy-box"><div class="fancy_box-title">Marvelous Designer specs</div><div class="fancy_box_body"><p class="fancy-box__body-text"><strong>Price</strong> $40 / £30 per month <br><strong>Company</strong> <a data-analytics-id="inline-link" href="https://marvelousdesigner.com/">CLO Virtual Fashion</a><br><strong>New features</strong> Multiple wind controllers, video capture, soft body simulation, auto convert to avatar, auto rigging, polygon optimising, texture baking, Unreal Editor via LiveSync, puckering tools</p></div></div><p>CLO Virtual Fashion has launched Marvelous Designer 2024, and it’s stronger than ever. This is a software toolset that simulates the movement of cloth in realistic ways and has become a mainstay of film VFX and video game development, mixing 3D modelling with real world fashion design workflows. It's kind of marvelous.</p><p>Ever since Marvelous Designer first debuted, it has been making waves across the 3D community, with one of its first major recognitions being <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/unity-next-gen">Weta Digital</a> using it for their film The Adventures of Tintin in 2011. More recently, it was great to see CLO Virtual Fashion’s co-founder, Jaden Oh, win an Academy Scientific and Technical Award for his work on the software.</p><p>Marvelous Designer 2024 sees a range of sizeable improvements to the software, including soft body simulation support, automatic avatar conversion, and a brand new live link to <a data-analytics-id="inline-link" href="https://www.creativebloq.com/tag/unreal-engine">Unreal Engine</a>. These, along with a host of other features, further cement Marvelous Designer’s position as the forerunner in digital clothing creation. You will need one of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-laptops-for-3d-modelling">best laptops for 3D modelling</a> to get the most from Marvelous Designer 2024's tools (while it will run on an AMD Ryzen 7000 series or higher this software has been optimised for Nvidia RTX 3000 series and above - see our guide to the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-nvidia-graphics-card">best Nvidia graphics cards</a> or <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/most-powerful-laptops">most powerful laptops</a> for more info).</p><h2 id="marvelous-designer-2024-review-improved-simulation-2">Marvelous Designer 2024 review: improved simulation</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1152px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="AbEc53PGBaBEgnqrALb6j3" name="md-3.jpg" alt="Marvelous Designer 2024 review; a 3D jacket being designing" src="https://cdn.mos.cms.futurecdn.net/AbEc53PGBaBEgnqrALb6j3.jpg" mos="" align="middle" fullscreen="" width="1152" height="648" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Designed can be cerated in a 2D viewer or taken into a 3D space and created on a model. </span><span class="credit" itemprop="copyrightHolder">(Image credit: CLO Virtual Fashion Inc.)</span></figcaption></figure><p>One of the most eye-catching new features is the new Soft Body simulation, an improvement that is designed to allow for more realistic cloth-to-body interactions, helping to streamline the process of ensuring that fabric and skin interact in the most believable way possible. This is important to get right for all types of clothing, but even more so for the tight-fitting garments such as underwear.</p><p>One precarious aspect that always has the potential to trip users up is the risk of the avatar protruding out of the garment. In more free-flowing garments this is a much smaller risk, but it’s those pesky tight-fitting clothes that are much more susceptible to issues.</p><p>Unfortunately, at this stage support is only offered for Marvelous Designer’s default avatars. I do expect this to be extended in subsequent versions, but for now you’ll just have to either use their avatars or forgo being able to utilise this new feature. There is also another limitation where skin deformations can only be exported as alembic caches.</p><h2 id="marvelous-designer-2024-review-more-automation-2">Marvelous Designer 2024 review: more automation</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1152px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="qQ2DZX8hdThNMRhLM5XsaA" name="md-4.jpg" alt="Marvelous Designer 2024 review; a 3D jacket being designed" src="https://cdn.mos.cms.futurecdn.net/qQ2DZX8hdThNMRhLM5XsaA.jpg" mos="" align="middle" fullscreen="" width="1152" height="648" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Marvelous Designer 2024 apes the real world way clothes are designed and made, but in a 3D app. </span><span class="credit" itemprop="copyrightHolder">(Image credit: CLO Virtual Fashion Inc.)</span></figcaption></figure><div class="fancy-box"><div class="fancy_box-title">Greater control for fine wrinkles</div><div class="fancy_box_body"><p class="fancy-box__body-text">A new puckering feature makes it easier than ever to showcase fine wrinkles in an outfit. A certain amount of fine-tuning and fiddling is still required to create those extra details, but it’s now much easier than it was. Puckering can be achieved on pattern outlines, inner line segments, and also sewing lines.</p></div></div><p>There are times a designer will need to utilise their own custom avatar on a project. This can be problematic in Marvelous Designer, because it won’t necessarily be compatible due to the lack of an appropriate skeleton. Marvelous Designer 2024 now includes a tool to automatically convert these externally created avatars into default avatar types. The converted types include the necessary internal skeleton and its associated motions.</p><p>This isn’t the only feature that will help you integrate Marvelous Designer into your art and creative production pipelines. Another example is the new EveryWear system, which helps you optimise clothing for use in real-time engines like Unreal and <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/unity-everything-you-need-to-know">Unity</a> that can’t necessarily cope with such a high level of detail. These changes, along with the others, show Marvelous Designer’s commitment to making sure the application is useful as one tool in the midst of an artist’s wider workflow. </p><h2 id="marvelous-designer-2024-review-unreal-engine-5-tools-2">Marvelous Designer 2024 review: Unreal Engine 5 tools</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1152px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="ZjRtH8enMM3W9qKtYSZckD" name="md-5.jpg" alt="Marvelous Designer 2024 review; a 3D jacket being designed" src="https://cdn.mos.cms.futurecdn.net/ZjRtH8enMM3W9qKtYSZckD.jpg" mos="" align="middle" fullscreen="" width="1152" height="648" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Soft-body simulation improves accuracy with tight-fitting clothes. </span><span class="credit" itemprop="copyrightHolder">(Image credit: CLO Virtual Fashion Inc.)</span></figcaption></figure><p>The requirement to create realistic clothing simulations in real-time engines such as Unreal and Unity is increasing all the time. Unreal Engine 5 has its own cloth solution, which is built on Nvidia's NvCloth solver, but this doesn’t always fit into an artist’s workflow, especially if they are familiar with the tools of Marvelous Designer. There are alternative options, such as <a data-analytics-id="inline-link" href="https://dev.epicgames.com/community/learning/tutorials/OPM3/unreal-engine-chaos-cloth-tool-overview" target="_blank">Chaos Cloth</a>, and now Marvelous Designer joins their ranks.</p><p>Through a new sync feature, it’s possible to create a live link between Marvelous Designer and <a data-analytics-id="inline-link" href="https://www.creativebloq.com/reviews/unreal-engine-5-review">Unreal Engine 5</a>. This means that changes can be previewed in real time without having to manually export data. A live feature like this makes the whole process as streamlined as possible.</p><p>Note though, that this feature should come with a word of warning. It still needs plenty of work to turn it into something that’s 100% reliable and full featured; use it in your production context with caution. At this stage, it doesn’t fully support fur or accessories, and you also won’t have access to it if you’re using one a MacBook Pro, even one of the new <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/apple-m3-mauled-by-nvidia-rtx">M3 Pro</a> models, although this is part of their advertised roadmap.</p><p>Overall Marvelous Designer 2024 improves on its core features, adds some good new tools and syncs easier with the main platforms many game artists and VFX creatives use, namely Unreal Engine and Unity. What's here remains great but expect some of the newer tools to be optimised this year too.</p> ]]></dc:content> <link>https://www.creativebloq.com/reviews/marvelous-designer-2024</link> <description> <![CDATA[ Creating lifelike 3D clothes just became even easier. ]]> </description> <guid isPermaLink="false">Sa9eSHsxhPZdBbuiZwZuoP</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/pjL9JbNoERT3xniiQ2Qrkb.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Wed, 01 May 2024 10:00:53 +0000</pubDate> <category><![CDATA[3D]]></category> <category><![CDATA[Unreal Engine]]></category> <category><![CDATA[CGI]]></category> <category><![CDATA[entertainment]]></category> <category><![CDATA[3D modelling]]></category> <category><![CDATA[Film]]></category> <category><![CDATA[game development]]></category> <category><![CDATA[game art]]></category> <category><![CDATA[Video games]]></category> <category><![CDATA[Animation]]></category> <category><![CDATA[VFX]]></category> <author><![CDATA[ paulo.n.hatton@gmail.com (Paul Hatton) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/pjL9JbNoERT3xniiQ2Qrkb.jpg"> <media:credit><![CDATA[CLO Virtual Fashion Inc.]]></media:credit> <media:text><![CDATA[Marvelous Designer 2024 review; a close up of a 3D jacket]]></media:text> <media:title type="plain"><![CDATA[Marvelous Designer 2024 review; a close up of a 3D jacket]]></media:title> </media:content> </item> <item> <title><![CDATA[ How to turn off an iPad ]]></title> <dc:content><![CDATA[ <p>Even the simplest task can often change with the ever evolving nature of technology, and that includes how to turn devices off and on again. Whether you want to simply turn your iPad off, or force a restart because it's frozen, this post is a simple reminder.</p><p>There are some slightly different methods depending on which iPad you have (see the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/ipad-model-list"><u>i</u>Pad generations</a> list if you're not sure), so pay close attention to get it right first time. And if you want an upgrade, here are our picks for the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-ipad-for-drawing">best iPad for drawing</a>.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:3868px;"><p class="vanilla-image-block" style="padding-top:56.33%;"><img id="ayQTPWer5rT3JNLMxJ5dPY" name="Turn off.jpg" alt="How to turn off iPad - picture of iPad turning off" src="https://cdn.mos.cms.futurecdn.net/ayQTPWer5rT3JNLMxJ5dPY.jpg" mos="" align="middle" fullscreen="" width="3868" height="2179" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Ben Brady)</span></figcaption></figure><section class="howto-block"> <h3>How to turn off an iPad with a Home button</h3> <p><p>If your iPad still has a Home Button then merely holding the top-side power button is the simplest way to turn it on and off.</p></p> </section><section class="howto-block"> <h3>How to turn off an iPad without a Home button</h3> <p><p>For those without a home button, most likely with Face or Touch ID, then it’s just as easy. Turn on by holding the top-side power button as before. To shut down the iPad simply hold this button at the same time as the volume up button. It’s much like taking a screenshot but holding the buttons down till you see the ‘slide to power off’ message. </p></p> </section><section class="article__schema-question"><h3>How do you force an unresponsive iPad to restart?</h3><article class="article__schema-answer"><p>If you’re faced with an unresponsive or frozen iPad follow these simple steps to force a restart.</p><p>The first way is to try the power-off tips as above. If that doesn’t work try simultaneously holding the power and home buttons, for the older models, until you see the apple logo appear. </p><p>For newer models, including the Air & Pro, perform this simple trick: </p></article></section><div class='jwplayer__widthsetter'><div class='jwplayer__wrapper'><div id='futr_botr_aeqy6yIw_EyURSsaj_div' class='future__jwplayer'><div id='botr_aeqy6yIw_EyURSsaj_div'></div></div></div></div><p>1. <strong>Press</strong> the volume <strong>up</strong> key</p><p>2. <strong>Press</strong> the volume <strong>down</strong> key</p><p>3. <strong>Hold </strong>the <strong>power button</strong> until it goes blank and the apple logo appears </p><p>Below are the top deals we've found on iPads of all sorts:</p> ]]></dc:content> <link>https://www.creativebloq.com/how-to/turn-off-an-ipad</link> <description> <![CDATA[ Whatever model you have, here’s how to shut it down and force a restart if needed. ]]> </description> <guid isPermaLink="false">RvDsXqSAaaHLXpqLwg2dZG</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/HeABiPrt8ewo33PZAVyw9F.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Wed, 01 May 2024 09:00:00 +0000</pubDate> <category><![CDATA[Apple]]></category> <category><![CDATA[tech]]></category> <category><![CDATA[Creativity]]></category> <category><![CDATA[Tablets]]></category> <category><![CDATA[iPad]]></category> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/HeABiPrt8ewo33PZAVyw9F.jpg"> <media:credit><![CDATA[Ben Brady]]></media:credit> <media:text><![CDATA[iPad]]></media:text> <media:title type="plain"><![CDATA[iPad]]></media:title> </media:content> </item> <item> <title><![CDATA[ Creatives need to be vigilant about AI washing ]]></title> <dc:content><![CDATA[ <p>Generative AI, such as <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-ai-art-generators">AI image generators</a>, is disrupting many creative sectors, and such rapid development of a new technology can be a minefield for brands. Whether you see it as a fad or a genuine revolution, a lot of brands feel the pressure to get involved and shout about their own AI capabilities, and that's leading to what's been dubbed 'AI washing'.</p><p>Have you noticed a product that's seen little obvious change from its previous iteration but is suddenly claiming to be AI-powered? Or an AI feature or tool that seems to have been rolled out in a hurry before it works? This is all part of a risky trend that experts say creatives need to be wary of.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1000px;"><p class="vanilla-image-block" style="padding-top:56.30%;"><img id="XrARpy76o2244U5GCXAawJ" name="hands.jpg" alt="An image of a human hand touching an AI-powered robot hand" src="https://cdn.mos.cms.futurecdn.net/XrARpy76o2244U5GCXAawJ.jpg" mos="" align="middle" fullscreen="" width="1000" height="563" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">A typical stock image used to try to represent the concept of AI </span><span class="credit" itemprop="copyrightHolder">(Image credit: Pexels)</span></figcaption></figure><p>AI washing refers to an exaggeration or deliberate misrepresentation of a company’s AI capabilities. The term 'AI' is being thrown around a lot, sometimes with little explanation of what it means in a given context. It's like back in the 90s when adding 'cyber' to any word suddenly made it cool. Even Coca-Cola launched a <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/coca-cola-ai">Y3000 flavour</a> 'co-created with AI'. But directly misleading people can have severe consequences. The <a data-analytics-id="inline-link" href="https://www.sec.gov/news/press-release/2024-36" target="_blank">US. Securities and Exchange Commission (SEC)</a> fined the investment advisory firms Delphia and Global Predictions for making false statements about their use of AI.</p><p>Despite this, a poll by Wipro-owned strategic design firm <a data-analytics-id="inline-link" href="https://www.designit.com/" target="_blank">Designit</a> has found that 80% of creatives aren't aware of what AI washing is. Canvassing people ranging from design strategists to UX and product designers and found an "AI-washing blind spot" across all levels of experience. Only 14% of creatives said they had experienced AI washing despite a dramatic rise in the trend.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1000px;"><p class="vanilla-image-block" style="padding-top:56.30%;"><img id="Le9kSpWiqEsQUgTLkhtTBK" name="quote.jpg" alt="Pardis Shafafi" src="https://cdn.mos.cms.futurecdn.net/Le9kSpWiqEsQUgTLkhtTBK.jpg" mos="" align="middle" fullscreen="" width="1000" height="563" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Pardis Shafafi is global responsible business lead at Designit </span><span class="credit" itemprop="copyrightHolder">(Image credit: Designit)</span></figcaption></figure><p><a data-analytics-id="inline-link" href="https://www.linkedin.com/in/pardis-shafafi-61b9a617b/" target="_blank">Pardis Shafafi</a>, global responsible business lead at Designit, says this lack of awareness among creatives is potentially damaging for brands. </p><p>“Brands’ impatience to be seen as cutting-edge, and their eagerness to embrace all the benefits of AI, is understandable," she said. "What’s key is that this latest, admittedly powerful, tool doesn’t come at the cost of consumer trust. The imperative for brands and their agency partners to be vigilant to developments including AI washing is greater now than ever: with fake news and misinformation making consumers more wary and suspicious than ever, we all have a reputational responsibility not to mislead consumers”.</p><p>As Pardis notes, the potential consequences of AI washing isn't confined to regulatory fines. It can damage customer confidence. This is an issue even with the very use of AI. The technology remains controversial, and while AI has become a buzz word that sounds cutting edge, it's a turn off for many. We've seen fierce backlash against brands ranging from <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/lego-admits-to-using-ai">Lego</a> to <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/netflix-ai-art-what-jennifer-did">Netflix</a> over the use of AI imagery. </p><p>People are growing tired of websites full of nonsensical AI-generated text clogging up search results, and there's a real risk of customers becoming frustrated and alienated with brands that roll out tools like AI chatbots before they're good enough to serve their purpose. While generative AI has already produced a range of powerful tools with practical applications, there's a lot of hype about it's future potential that has yet to be realised, and many potentially powerful AI tools remain pretty useless for practical purposes. Brands need to tread carefully to avoid missteps when navigating if and how to use the tech, and what to say about their own AI capabilities.</p> ]]></dc:content> <link>https://www.creativebloq.com/news/ai-washing</link> <description> <![CDATA[ The practice is on the rise as brands rush to jump on the AI bandwagon. ]]> </description> <guid isPermaLink="false">uZwbG65SxEqEbvKAbdND88</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/XrARpy76o2244U5GCXAawJ.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Wed, 01 May 2024 06:00:47 +0000</pubDate> <category><![CDATA[Graphic Design]]></category> <category><![CDATA[Digital Art]]></category> <category><![CDATA[Art]]></category> <category><![CDATA[ai]]></category> <category><![CDATA[ai art]]></category> <category><![CDATA[News]]></category> <author><![CDATA[ joe.foley@futurenet.com (Joe Foley) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/XrARpy76o2244U5GCXAawJ.jpg"> <media:credit><![CDATA[Pexels]]></media:credit> <media:text><![CDATA[An image of a human hand touching an AI-powered robot hand]]></media:text> <media:title type="plain"><![CDATA[An image of a human hand touching an AI-powered robot hand]]></media:title> </media:content> </item> <item> <title><![CDATA[ The new Umbro logo is a powerful tribute to a 100-year legacy in sport ]]></title> <dc:content><![CDATA[ <p>When we think of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/best-sports-logos-all-time">best sports logos</a>, certain big global brands often come to mind. Adidas and Nike, in particular, have been dominant forces in many sports in recent years. However, some argue that the iconic British brand outclasses them both.</p><p>Umbro turns 100 this month – on 23 May, to be precise – and it's marking the occasion with a new centenary logo that celebrates its legacy. It injects a splash of colour while maintaining and emphasising the shape of the existing design. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:3840px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="JcawhvyTi6SEyCnADSqbk6" name="Umbro-Logo.jpg" alt="Umbro logo" src="https://cdn.mos.cms.futurecdn.net/JcawhvyTi6SEyCnADSqbk6.jpg" mos="" align="middle" fullscreen="" width="3840" height="2160" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">The Umbro centenary logo </span><span class="credit" itemprop="copyrightHolder">(Image credit: Umbro)</span></figcaption></figure><p>Founded by the brothers Harold and Wallace Humphreys, Umbro's name is a portmanteau of ‘um’ (from Humphrey) and ‘bro’ (from 'brothers'). It became highly visible in British sport in the 1970s and well into the 1980s as many teams began wearing Umbro kits at a time when Nike was still a firmly US-focused brand associated with basketball and track and field, and it retains a special place in the memories of English football fans today.</p><p>For it's anniversary, Umbro has introduced a new logo variant that adds a bold red colour to the central diamond. It captures attention, draws the eye and drips with sporting nostalgia without modifying the shape of the existing logo, which remains in use alongside the centenary design.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1000px;"><p class="vanilla-image-block" style="padding-top:59.90%;"><img id="72p8k43NDZ6qu5FGKw3tc6" name="Umbro-Logo-2008.jpg" alt="Umbro logo" src="https://cdn.mos.cms.futurecdn.net/72p8k43NDZ6qu5FGKw3tc6.jpg" mos="" align="middle" fullscreen="" width="1000" height="599" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">The existing Umbro logo </span><span class="credit" itemprop="copyrightHolder">(Image credit: Umbro)</span></figcaption></figure><p>Craig Burston is Senior Lecturer in Graphic and Media Design at on the BA (Hons) Graphic and Media Design at <a data-analytics-id="inline-link" href="https://www.arts.ac.uk/colleges/london-college-of-communication">London College of Communication</a>, part of University of the Arts London. He thinks that while rivals Nike and Adidas tend to be studied more (the latter also celebrates its centenary this year), the Umbro logo is stronger in pure design terms.</p><p>“The Umbro double diamond logo is a beautiful application of simple geometric shapes, rather than Adidas and Nike’s ‘did-you-see-what-we-did-there?’ logos," he says. "While the ‘Nike swoosh’ became a staple logo for anyone studying brand identity, this is arguably more for marketing genius (“Just Do It”) than its actual design."</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1000px;"><p class="vanilla-image-block" style="padding-top:56.30%;"><img id="9LHq6253ZwJjfEMG3xqFR6" name="Umbro first logo.jpg" alt="Umbro logo" src="https://cdn.mos.cms.futurecdn.net/9LHq6253ZwJjfEMG3xqFR6.jpg" mos="" align="middle" fullscreen="" width="1000" height="563" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">The original Umbro logo from 1924 </span><span class="credit" itemprop="copyrightHolder">(Image credit: Umbro)</span></figcaption></figure><p>Craig notes that in its earliest incantations, the Umbro logo included the brand's name inside the diamond shape, enabling sportspeople and customers to read, "think", and then remember the name. In 1974, it redesigned the logo to introduce the double diamond we know, boasting a new solidity that no longer required the name inside it.</p><p>"Does anything even sound as remotely strong as a ‘double diamond’?, Craig asks. "The alliteration of description of the shape and form of the logo is even stronger than the portmanteau of Umbro the company name."</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1002px;"><p class="vanilla-image-block" style="padding-top:72.65%;"><img id="VvVAVQiRayxncVdRymBDX6" name="Umbro-Logo-1930.jpg" alt="Umbro logo" src="https://cdn.mos.cms.futurecdn.net/VvVAVQiRayxncVdRymBDX6.jpg" mos="" align="middle" fullscreen="" width="1002" height="728" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">The Umbro logo used from 1930 until 1960 </span><span class="credit" itemprop="copyrightHolder">(Image credit: Umbro)</span></figcaption></figure><p>Like the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/deutsche-bank-logo">Deutsche Bank logo</a>, which has just turned 50, Umbro's mark demonstrates the power of simplicity and alliteration in logo design. "Something as simple and dynamic as a diamond goes a long way to representing all that is great about team sport – strength through dynamic form," Craig notes. It also shows us that radical change is often not necessary, and that credibility can grow over time</p><p>For Craig, part of the enduring strength of Umbro's branding is that it hasn't been tempted to change its identity "for its own sake". It made a few tweaks over the years, squishing the diamond shape for a period, but the central architecture had remained the same. That's helped the brand maintain a low level of cool, including among vintage sports clothes collectors. "While brands like Adidas and Nike became the leaders in designing sub-brands through the adoption and adaptation of symbol sets and systems, Umbro is and only ever was the diamonds," Craig says.</p> ]]></dc:content> <link>https://www.creativebloq.com/news/umbro-logo-history</link> <description> <![CDATA[ Umbro is as iconic as Nike or Adidas. ]]> </description> <guid isPermaLink="false">ZH3bqzuq8pCnSQLNBAaQLG</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/JcawhvyTi6SEyCnADSqbk6.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Wed, 01 May 2024 04:00:54 +0000</pubDate> <category><![CDATA[graphic design]]></category> <category><![CDATA[logo design]]></category> <category><![CDATA[Logos]]></category> <category><![CDATA[News]]></category> <category><![CDATA[Logo ]]></category> <category><![CDATA[Branding]]></category> <category><![CDATA[Typography]]></category> <category><![CDATA[font design]]></category> <author><![CDATA[ joe.foley@futurenet.com (Joe Foley) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/JcawhvyTi6SEyCnADSqbk6.jpg"> <media:credit><![CDATA[Umbro]]></media:credit> <media:text><![CDATA[Umbro logo]]></media:text> <media:title type="plain"><![CDATA[Umbro logo]]></media:title> </media:content> </item> <item> <title><![CDATA[ The Period Conversation embraces organic design to get the dialogue flowing ]]></title> <dc:content><![CDATA[ <p>Periods have been a huge taboo in the workplace for, well, always. And while we're (slowly) getting better at talking about them, it's still an uncomfortable topic for many. To get the dialogue flowing, The Period Conversation is a project that aims to help us open up about menstruation and get real about reality.</p><p>As we've seen with <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/period-product-branding-update">period product branding</a>, menstruation has typically been treated as a topic shrouded in discretion and shame. With a delightfully contemporary and interactive campaign website design, The Period Conversation marks a new era of understanding – empowering and educating in style. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1920px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="eetYsV8h2qoHeqkdL4UNK7" name="1. Posters - Static.png" alt="Nice and Serious The Period Conversation" src="https://cdn.mos.cms.futurecdn.net/eetYsV8h2qoHeqkdL4UNK7.png" mos="" align="middle" fullscreen="" width="1920" height="1080" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Nice and Serious)</span></figcaption></figure><p><a data-analytics-id="inline-link" href="https://theperiodconversation.com/" target="_blank">The Period Conversation</a> is a project by design agency <a data-analytics-id="inline-link" href="https://niceandserious.com/" target="_blank">Nice and Serious</a> as part of its 'Nice Works' initiative – encouraging the team to pursue creative projects around issues that are important to them. Supported by the charity <a data-analytics-id="inline-link" href="https://www.bloodygoodperiod.com" target="_blank">Bloody Good Period</a>, the interactive website features crowdsourced questions from people who don't menstruate. Answers are provided by those who do – with contextual additions from the charity – creating a visually digestible dialogue to inform without the taboo barrier.</p><p>"The Period Conversation started, well, with a conversation," says Sadie Devane, Senior Art Director at Nice and Serious. "We spoke at length about the ways in which our menstrual cycles impact our creative output, and the difficulties we’d had navigating this throughout our working lives," she adds. This became the project's catalyst, inspiring the team to create a resource that could open conversations with their colleagues and become a tool for other workplaces. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:8000px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="JouWczjaB36XRCVGRiX4HL" name="8. Answer Page - Desktop - Static.png" alt="Nice and Serious The Period Conversation" src="https://cdn.mos.cms.futurecdn.net/JouWczjaB36XRCVGRiX4HL.png" mos="" align="middle" fullscreen="" width="8000" height="4500" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Nice and Serious)</span></figcaption></figure><p>The visuals purposefully echo a gender-neutral tone, with a colour palette that strays from the typical pinks and reds of period branding. "Tonally, we wanted the designs to strike a balance of being bright and inviting, whilst also being soft and serious, to mirror the range of conversations featured," says Senior Designer Anna Barton. </p><p>"Our chosen colour palette is inspired instead by how the four phases of the menstrual cycle feel, with bright and illuminating tones to reflect conversation about each," says Anna. The graphic language and "bubble-style type" are directly inspired by period blood, replicating the marbling shapes of its viscous movement, while the fluidity of the design gestures to the "project’s aim for organic, flowing conversation." </p><div class="inlinegallery inline-layout"><div class="inlinegallery-wrap" style="display:flex; flex-flow:row nowrap;"><div class="inlinegallery-item" style="flex: 0 0 auto;"><span class="slidecount">Image 1 of 3</span><figure class="van-image-figure " data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:8000px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="QVB2egYAniA9sV9mFXDPET" name="9. Question Answer Highlight - 1.png" alt="Nice and Serious The Period Conversation" src="https://cdn.mos.cms.futurecdn.net/QVB2egYAniA9sV9mFXDPET.png" mos="" link="" align="" fullscreen="" width="8000" height="4500" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=""><span class="credit" itemprop="copyrightHolder">(Image credit: Nice and Serious)</span></figcaption></figure></div><div class="inlinegallery-item" style="flex: 0 0 auto;"><span class="slidecount">Image 2 of 3</span><figure class="van-image-figure " data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:8000px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="Po6352LbGn2NLKe82tqPbW" name="10. Question Answer Highlight - 2.png" alt="Nice and Serious The Period Conversation" src="https://cdn.mos.cms.futurecdn.net/Po6352LbGn2NLKe82tqPbW.png" mos="" link="" align="" fullscreen="" width="8000" height="4500" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=""><span class="credit" itemprop="copyrightHolder">(Image credit: Nice and Serious)</span></figcaption></figure></div><div class="inlinegallery-item" style="flex: 0 0 auto;"><span class="slidecount">Image 3 of 3</span><figure class="van-image-figure " data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:8000px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="CcQKZaaGUGjdT7C2anzfmZ" name="11. Question Answer Highlight - 3.png" alt="Nice and Serious The Period Conversation" src="https://cdn.mos.cms.futurecdn.net/CcQKZaaGUGjdT7C2anzfmZ.png" mos="" link="" align="" fullscreen="" width="8000" height="4500" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=""><span class="credit" itemprop="copyrightHolder">(Image credit: Nice and Serious)</span></figcaption></figure></div></div></div><p>It wasn't a seamless project, as the team had to work hard to make the campaign feel accessible to a diverse audience. "In order to ensure the campaign was inclusive – and in particular that it would appeal to men – we went through rounds of testing within our team in terms of the language, visuals, and tone of voice used," Sadie says. </p><p>On what she's most proud of throughout the process, Anna says: "This is the most personal project I’ve ever worked on, and I’m proud that speaking up has gone on to create something so impactful. My period has felt like an obstacle to be creative, so to have used a negative experience to create something this inventive feels like a real achievement. " </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:8000px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="nQNjz6vEx2v2Caydhu339f" name="16. Period Library - Desktop - Static Option.png" alt="Nice and Serious The Period Conversation" src="https://cdn.mos.cms.futurecdn.net/nQNjz6vEx2v2Caydhu339f.png" mos="" align="middle" fullscreen="" width="8000" height="4500" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Nice and Serious)</span></figcaption></figure><p>"I hope The Period Conversation can inspire other companies to start conversations, develop inclusive policies, and empower and support employees to ensure no one’s put at a disadvantage because of their period," says Sadie. "By providing this wider knowledge, and reducing period stigma we are actively working towards our goal of menstrual equity!” adds Rachel Grocott, CEO at Bloody Good Period. </p><p>For more design inspiration from <a data-analytics-id="inline-link" href="https://niceandserious.com/" target="_blank">Nice and Serious</a>, check out the stunning rebrand for <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/natural-landscapes-rebrand">National Landscapes</a>. If you're after some brilliant branding, check out the adorable <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/milk-and-more-packaging">milk carton designs</a> that are a masterclass in stylish packaging design.</p> ]]></dc:content> <link>https://www.creativebloq.com/news/the-period-conversation</link> <description> <![CDATA[ Nice and Serious debuts its latest 'Nice Works’ project. ]]> </description> <guid isPermaLink="false">kDintSAYJAqc3xsomt9yjW</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/vzUvir3smU6e5Gn4ncLDAo.gif" type="image/gif" length="0"></enclosure> <pubDate>Tue, 30 Apr 2024 13:00:00 +0000</pubDate> <category><![CDATA[News]]></category> <category><![CDATA[Graphic Design]]></category> <category><![CDATA[Design]]></category> <category><![CDATA[Branding]]></category> <category><![CDATA[Web Design]]></category> <category><![CDATA[Creativity]]></category> <category><![CDATA[Inspiration]]></category> <media:content type="image/gif" url="https://cdn.mos.cms.futurecdn.net/vzUvir3smU6e5Gn4ncLDAo.gif"> <media:credit><![CDATA[Nice and Serious]]></media:credit> <media:text><![CDATA[Nice and Serious The Period Conversation]]></media:text> <media:title type="plain"><![CDATA[Nice and Serious The Period Conversation]]></media:title> </media:content> </item> <item> <title><![CDATA[ The best rebrands of the 2010s, chosen by experts ]]></title> <dc:content><![CDATA[ <p>A strong decade for rebrands, the 2010s saw many businesses reworking their identities to become digital first. Cutting through the noise of an increasingly busy online world called for communicating with consumers in new ways and choosing designs that stood out. Simple, flat, app icon-led logos were key to this, while many brands experimented with bold colour systems, quirky ads and even name changes.</p><p>Here, in no particular order, are the best rebrands of the decade, as picked by designers and industry experts. Check out more of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/tag/rebrands-of-the-decade">best rebrands by decade</a> here, or our <a data-analytics-id="inline-link" href="https://www.creativebloq.com/tag/best-logos-by-decade"><u>logos by decade</u></a> series traces the top identities from the 1930s onwards.</p><h2 id="01-oatly-xa0-2">01. Oatly </h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1200px;"><p class="vanilla-image-block" style="padding-top:52.50%;"><img id="v5r8SF7LxKyezYq83FC3G7" name="oatly4.jpg" alt="Oatly ads" src="https://cdn.mos.cms.futurecdn.net/v5r8SF7LxKyezYq83FC3G7.jpg" mos="" align="middle" fullscreen="" width="1200" height="630" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Oatly)</span></figcaption></figure><p>Despite being around since the 1990s, alt-dairy product producer Oatly and its branding really caught the attention of consumers in the 2010s, says Gemma Wilson is a senior writer at verbal branding agency <a data-analytics-id="inline-link" href="https://www.reedwords.com/"><u>Reed Words</u></a>. “It was the perfect timing – with the rise in purpose-driven brands, plant-based products, and (sadly) ‘wackaging’. A new leadership team maximised the moment to catapult Oatly out of obscurity and into our precious fridge space. They had the bravery to make Oatly’s packaging genuinely interesting. To build a tone of voice that’s loud and punchy, full of weird jokes and inane rambling. And to use both to fill enormous street-art style ads,” she says. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1280px;"><p class="vanilla-image-block" style="padding-top:60.00%;"><img id="uyrP6DpaXtcJhgDUueGooV" name="oatly3.jpeg" alt="Oatly branding" src="https://cdn.mos.cms.futurecdn.net/uyrP6DpaXtcJhgDUueGooV.jpg" mos="" align="middle" fullscreen="" width="1280" height="768" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Oatly)</span></figcaption></figure><p>“They deliberately broke the ‘rules’ – from their irregular logo to being openly political towards the dairy industry. These moves turned Oatly from a product into a brand. The real difference is, it wasn’t rebellion for rebellion’s sake. The trend that Innocent started, with quirky, chatty on-pack voice, Oatly turned into something authentically challenging,” she continues. “They started the Swedish ‘Milk Wars’ – culminating in getting sued for the line ‘Milk, but made for humans’ [by LRF Mjölk, the Swedish dairy lobby], publishing the lawsuit, and becoming a mainstream brand as a result. Calling the back of the pack ‘The Boring Side’ and turning half pack into an appeal for a boyfriend: ‘My friend Sara is looking for a boyfriend. She’s 26 and really cool’. Never mind publicising the customer review 'It tastes like sh*t' on packs and in ads. It’s still rare to see a brand brave enough to be weird on main. Even more to do it in copy – and commit to keeping it up.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1245px;"><p class="vanilla-image-block" style="padding-top:62.65%;"><img id="mjRYC3XGGcLza7P8byhdkZ" name="oatly3.jpg" alt="Oatly branding" src="https://cdn.mos.cms.futurecdn.net/mjRYC3XGGcLza7P8byhdkZ.jpg" mos="" align="middle" fullscreen="" width="1245" height="780" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Oatly)</span></figcaption></figure><p>By the end of the decade, the move had paid off, as sales doubled to $421 million. And not long after it won a landmark legal battle against trade association Dairy UK, after a judge ruled that its “Post-Milk Generation” slogan did not create consumer confusion.</p><p>“Oatly shouldn’t be likeable, but it is,” Gemma says. “The brand works because people can tell it’s real, and that authenticity lets us overlook its flaws. If the tactics seem tedious, it’s because of poor imitators since. Happily, Oatly is still pleasingly off-kilter today. The website has a ‘<a data-analytics-id="inline-link" href="https://www.oatly.com/en-gb/things-we-do/brainwashing">Brainwashing</a>’ section, it riffs on brand-chat tropes 'So, let’s get started. (That was just a suggestion. You can start whenever you are ready.)' And for any outstanding critics, this year they launched <a data-analytics-id="inline-link" href="https://fckoatly.com/">FckOatly.com</a> to share the hate. It’s a rare example of a brand that’s moved from challenger to mainstream without losing its edge.”</p><h2 id="02-old-spice-x202f-xa0-2">02. Old Spice </h2><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/owGykVbfgUE" allowfullscreen></iframe></div></div><p>Dating back to 1937 and at risk of becoming obsolete, male grooming brand Old Spice was well overdue a refresh to attract new, younger consumers. The 2010 rebrand included a now legendary ad featuring a confident, suave male, while still managing to poke fun at traditional of masculinity in advertising.“Rather than follow the traditional branding playbook of updating the logo or design, P&G changed the brand's voice and character. The company focused on dramatically redefining the definition of ‘being and sounding like a man’,” says <a data-analytics-id="inline-link" href="http://www.allenadamson.com/">Allen Adamson</a>, co-founder and managing partner of marketing agency <a data-analytics-id="inline-link" href="https://www.metaforce.com/">Metaforce</a> and author of <a data-analytics-id="inline-link" href="https://allenadamson.com/seeing-the-how-book/">Seeing The How</a>. “The rebrand was launched with a commercial featuring Isaiah Mustafa, an actor and former football player, behind the theme ‘The Man Your Man Could Smell Like’. And the brand voice was snappy and quirky. ”</p><p>“P&G also supported the fresh brand voice with bold (red) packaging and went to market with a graphically impactful contemporary look,” he adds. “The results turned a dying business into a fast-growing multi-billion dollar global brand. It is one of the most dramatic and successful brand turnarounds ever.”“Rather than follow the traditional branding playbook of updating the logo or design, P&G changed the brand's voice and character. The company focused on dramatically redefining the definition of ‘being and sounding like a man’,” says <a data-analytics-id="inline-link" href="http://www.allenadamson.com/">Allen Adamson</a>, co-founder and managing partner of marketing agency <a data-analytics-id="inline-link" href="https://www.metaforce.com/">Metaforce</a> and author of <a data-analytics-id="inline-link" href="https://allenadamson.com/seeing-the-how-book/">Seeing The How</a>. “The rebrand was launched with a commercial featuring Isaiah Mustafa, an actor and former football player, behind the theme ‘The Man Your Man Could Smell Like’. And the brand voice was snappy and quirky. ”</p><p>“P&G also supported the fresh brand voice with bold (red) packaging and went to market with a graphically impactful contemporary look,” he adds. “The results turned a dying business into a fast-growing multi-billion dollar global brand. It is one of the most dramatic and successful brand turnarounds ever.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:960px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="jyGwnWMrpUTSqL2U3xhQZa" name="oldspice 2.png" alt="Old Spice rebrand" src="https://cdn.mos.cms.futurecdn.net/jyGwnWMrpUTSqL2U3xhQZa.png" mos="" align="middle" fullscreen="" width="960" height="540" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Old Spice)</span></figcaption></figure><p>“Rather than follow the traditional branding playbook of updating the logo or design, P&G changed the brand's voice and character. The company focused on dramatically redefining the definition of ‘being and sounding like a man’,” says <a data-analytics-id="inline-link" href="http://www.allenadamson.com/">Allen Adamson</a>, co-founder and managing partner of marketing agency <a data-analytics-id="inline-link" href="https://www.metaforce.com/">Metaforce</a> and author of <a data-analytics-id="inline-link" href="https://allenadamson.com/seeing-the-how-book/">Seeing The How</a>. “The rebrand was launched with a commercial featuring Isaiah Mustafa, an actor and former football player, behind the theme ‘The Man Your Man Could Smell Like’. And the brand voice was snappy and quirky. ”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1070px;"><p class="vanilla-image-block" style="padding-top:68.60%;"><img id="3Yr5bRno3DwVWNA6M99uCn" name="1.png" alt="Old Spice old advert" src="https://cdn.mos.cms.futurecdn.net/3Yr5bRno3DwVWNA6M99uCn.png" mos="" align="middle" fullscreen="" width="1070" height="734" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Old Spice)</span></figcaption></figure><p>“P&G also supported the fresh brand voice with bold (red) packaging and went to market with a graphically impactful contemporary look,” he adds. “The results turned a dying business into a fast-growing multi-billion dollar global brand. It is one of the most dramatic and successful brand turnarounds ever.”</p><h2 id="03-google-2">03. Google</h2><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/olFEpeMwgHk" allowfullscreen></iframe></div></div><p>Next up in the best rebrands of the 2010s – despite the tech giant’s Workspace overhaul featuring in <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/best-rebrands-2020s">our list from the 2020s so far</a>, too – is Google’s 2015 identity update, created by its in-house team. A simplified sans serif wordmark, new typeface and the blue “g” icon replaced with a four-colour “G” to match the logo. Plus, for the first time, it was animated, as the “Google Dots in Motion” graphic was introduced. “The Google dots are a dynamic and perpetually moving state of the logo. They represent Google’s intelligence at work and indicate when Google is working for you,” the design team said at the time. “We consider these unique, magic moments. A full range of expressions were developed including listening, thinking, replying, incomprehension, and confirmation.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:640px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="LbKSd336nEnsqHCmh27YH8" name="google1.gif" alt="Google rebrand" src="https://cdn.mos.cms.futurecdn.net/LbKSd336nEnsqHCmh27YH8.gif" mos="" align="middle" fullscreen="" width="640" height="360" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Google)</span></figcaption></figure><p>“Google saw its biggest redesign since 1999 in 2015,” says Abigail Baldwin, director of creative studio <a data-analytics-id="inline-link" href="https://www.buttercrumble.com/">Buttercrumble</a>. “They tidied up the lettering and distilled the essence of the brand [icon] into its main four colours. When you place blue, red, yellow and green together, you think of Google. This multi-colour sequence is instantly recognisable and shows how powerful branding can be.”</p><h2 id="04-dunkin-apos-donuts-2">04. Dunkin' Donuts</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:907px;"><p class="vanilla-image-block" style="padding-top:56.56%;"><img id="Cado8BRyaqsjnmz6RhZ9pU" name="dunkin1.png" alt="Dunkin' rebrand" src="https://cdn.mos.cms.futurecdn.net/Cado8BRyaqsjnmz6RhZ9pU.png" mos="" align="middle" fullscreen="" width="907" height="513" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Dunkin')</span></figcaption></figure><p>“It’s one of those brand evolutions that feels like everything and nothing changed simultaneously,” says Derek Koch, senior designer at brand strategy and design studio <a data-analytics-id="inline-link" href="https://team.design/"><u>Team</u></a> of the 2018 rebrand. “I love how Jones Knowles Ritchie used all of the beloved aspects of the existing brand – those fat, rounded letterforms and familiar pink and orange palette – to create a rich and visually expansive world that looks as familiar as it does fresh. The result is a brand that feels like an undoubtedly more confident version of its former self.” </p><p>Allen agrees that maintaining its unique and fun ”donut-like typeface and non-slick, down-to-earth look” keeps the brand relevant to its consumer base. However, the change in the name, from Dunkin Donuts to Dunkin’ was the most critical element, he says, given that the business had already expanded to other products. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:963px;"><p class="vanilla-image-block" style="padding-top:29.91%;"><img id="9ceEFX7zprW79xCqnKPiAP" name="dunkin2.png" alt="Dunkin' rebrand" src="https://cdn.mos.cms.futurecdn.net/9ceEFX7zprW79xCqnKPiAP.png" mos="" align="middle" fullscreen="" width="963" height="288" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Dunkin')</span></figcaption></figure><p>“Successful rebrands don't just spruce up an image to make it more relevant and appealing; they deliver tangible business results,” Allen says. “Also, one doesn't have to be a brand expert to know that while donuts taste good, the health guilt associated with eating them has increased, especially since calorie counts must be prominently displayed on menu boards in many states. (The smallest donuts, the Munchkins, are 60 calories each, and many consumers eat three in 10 seconds.) This was similar to Kentucky Fried Chicken's rebranding, dropping ‘Fried’ to KFC and Federal Express to FedEx (when ‘federal’ implied government ownership and slow delivery, and they were a private company offering anything but slow delivery).” </p><p>“The shortened brand name also allows the brand to be easily woven into the conversation, and for many, like the FedEx rebranding, it was how consumers already used the name: ‘I’m going to Dunkin.’ Shorter is always better.”</p><h2 id="05-mastercard-2">05. Mastercard</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:627px;"><p class="vanilla-image-block" style="padding-top:46.41%;"><img id="UEQEJ2XXbMgZJhVzHPa2uV" name="mastercard.png" alt="Mastercard rebrand" src="https://cdn.mos.cms.futurecdn.net/UEQEJ2XXbMgZJhVzHPa2uV.png" mos="" align="middle" fullscreen="" width="627" height="291" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Mastercard)</span></figcaption></figure><p>The creative team at <a data-analytics-id="inline-link" href="http://haloassociates.co.uk/"><u>Halo Associates</u></a> (creative director Sarah Macpherson, lead designer Scott Chapman, and senior designer Adrianna Parsons) chose Mastercard's bold logo redesigns in 2016 and again in 2019, from Pentagram, as one of their top choices for the decade:</p><p>“The company’s refresh in 2016 replaced the iconic stripes with a solid block of colour and placed the company name beneath the logo – it was Mastercard’s first change in two decades. In 2019, it went even further by removing its name from the logo entirely, using only the red and yellow intersecting circles as its brand mark. This brave move was backed by research revealing that over three quarters of customers could identify the brand solely from the interlocking circles. Now, Mastercard’s logo is instantly recognisable and has a strong brand identity, proving the impact of a successful logo update.”</p><h2 id="06-airbnb-2">06. Airbnb</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1200px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="r9YHWwK5CdG2NhjrHQ4BaB" name="DesignStudio-Airbnb.jpg" alt="Airbnb rebrand by DesignStudio" src="https://cdn.mos.cms.futurecdn.net/r9YHWwK5CdG2NhjrHQ4BaB.jpg" mos="" align="middle" fullscreen="" width="1200" height="675" attribution="" endorsement="" class=""></p></div></div></figure><p>“Airbnb was definitely one of the biggest rebrand stories of the decade,” says Jonny of this 2014 identity update by Design Studio. “The brand did so many things right. The tagline ‘belong anywhere’ is a stroke of genius, short and snappy, like the best taglines, but also so easy to understand at a glance perfectly matching the spirit of the company. The logo, which could be drawn by anyone, feels welcoming and friendly, allowing Airbnb to further connect to its customers and settle their nerves, given that renting someone else’s home for a couple days is quite a quirky idea [and more novel back then]. Overall, the rebrand was a success for Airbnb, taking them to a whole new level and reaching millions of consumers worldwide to take the plunge on a different way to holiday.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:500px;"><p class="vanilla-image-block" style="padding-top:80.00%;"><img id="sy8Jk5NPnWBuoEhddm2uA9" name="airbnb.gif" alt="Airbnb rebrand" src="https://cdn.mos.cms.futurecdn.net/sy8Jk5NPnWBuoEhddm2uA9.gif" mos="" align="middle" fullscreen="" width="500" height="400" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Airbnb)</span></figcaption></figure><p>The creative team at <a data-analytics-id="inline-link" href="http://haloassociates.co.uk/">Halo Associates</a> agree that the logo mark was what helped it appeal to a wider audience as it abandoned its original name, logo and colour palette: “Airbnb's rebrand was a great success with the logo winning numerous design awards. Its refreshing, uncomplicated design has been accompanied by new typography making it strong, confident and clear to read. Photography and colour schemes have breathed life into its apps. The design hinges on the use of the Belò [a symbol of belonging], a clever device being a universal symbol which encapsulates ‘belonging’ to a community, amazing places you can visit and the astonishing people you can meet. A great example of uncomplicated design and great execution.”</p><h2 id="07-budweiser-2">07. Budweiser</h2><div class="looped-video"><video class="lazyload-in-view lazyloading" data-src="https://cdn.entries.clios.com/videos/converted/13307/47599/201619147_1_fid_47599_ems720p.mp4" autoplay loop muted playsinline src="https://cdn.entries.clios.com/videos/converted/13307/47599/201619147_1_fid_47599_ems720p.mp4"></video></div><p>“This bold rebrand is a shining example of successful modern heritage design, perfectly striking the delicate balance between rich heritage storytelling and contemporary design sensibilities – by embracing both. The design helped Budweiser survive and thrive in a time when the rise of social media was speeding up trend cycles like never before,” says Lisa Franck, strategy director at design and advertising agency <a data-analytics-id="inline-link" href="https://www.tavern.agency/">Tavern</a>, of the 2016 rebrand, which she says bucked design trends at the time.</p><p>“In the 1990s and early 2000s, tradition seemed to fall out of favour. In response to the hype around the new millennium and all of the design trends that came with it, brands began to put their heritage on the back burner in favour of a bolder, more ‘modern’ look. At the same time, craft breweries were growing in popularity, challenging the dominance of traditional beer brands like Budweiser,” she continues. “The 2016 redesign took the brand back to its roots while balancing traditional brand iconography with a bold undertone of modernity. The rebrand elevated and refreshed heritage design elements, which were recreated by hand to strip out the fluff while retaining a sense of craftsmanship that reflected the level of care Budweiser puts into the beer itself. The rich, red backdrop went full-bleed, stretching it beyond the pack into the rest of the brand’s visual world.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:2200px;"><p class="vanilla-image-block" style="padding-top:70.91%;"><img id="6KXDExFwmpyhopifygYMgH" name="bud3.jpeg" alt="Budweiser rebrand" src="https://cdn.mos.cms.futurecdn.net/6KXDExFwmpyhopifygYMgH.jpg" mos="" align="middle" fullscreen="" width="2200" height="1560" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Budweiser)</span></figcaption></figure><p>Jonny Aldrich, co-founder and managing director of London-based branding and packaging design agency <a data-analytics-id="inline-link" href="https://deucestudio.com/">Deuce</a> agrees it was a powerful move that successfully utilised the brand’s heritage: “Creative agency Jones Knowles Ritchie did its very best to look back at history and bring back the nostalgia of their original cans while adding an overall contemporary look and feel for a modern world. The can is beautiful, it's still got the red, white and blue for a beer enriched in American culture, but it also has some beautiful crafted elements that belong in a different era, while still feeling fresh and modern at the same time being cropped off top and bottom. Overall a very clever rebrand.”</p><h2 id="08-premier-league-2">08. Premier League</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:2462px;"><p class="vanilla-image-block" style="padding-top:56.05%;"><img id="SusuwhcZi4eoquth5QqnLJ" name="PL4.jpg" alt="Premier League rebrand" src="https://cdn.mos.cms.futurecdn.net/SusuwhcZi4eoquth5QqnLJ.jpg" mos="" align="middle" fullscreen="" width="2462" height="1380" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Premier League)</span></figcaption></figure><p>A new visual identity for the Premier League’s 2016/17 season included an updated lion icon for a “digital and broadcast-first approach”, created by DesignStudio in collaboration with Robin Brand Consultants. The title sponsorship had just been dropped, and the rebrand introduced vivid, impactful colours and an informal, flexible new system. </p><p>“This rebrand really changed up the mindset of sports event design,” says Dan Birds, senior creative artworker at <a data-analytics-id="inline-link" href="https://wearesyn.com/">syn.</a>. “Going from brand logos where everything was bevelled, metallic and gradient heavy to a cleaned up, modern and crisp aesthetic. It was an evolutionary moment in visual brand design – especially for sport”.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:736px;"><p class="vanilla-image-block" style="padding-top:59.92%;"><img id="MyqoAE8MT2LWSicXqeBtJM" name="PL1.jpeg" alt="Premier League rebrand" src="https://cdn.mos.cms.futurecdn.net/MyqoAE8MT2LWSicXqeBtJM.jpg" mos="" align="middle" fullscreen="" width="736" height="441" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Premier League)</span></figcaption></figure><h2 id="09-mtv-2">09. MTV</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:563px;"><p class="vanilla-image-block" style="padding-top:57.90%;"><img id="HFdneGhrdwqG7VuLypZwWD" name="mtv.jpeg" alt="MTV rebrand" src="https://cdn.mos.cms.futurecdn.net/HFdneGhrdwqG7VuLypZwWD.jpg" mos="" align="middle" fullscreen="" width="563" height="326" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: MTV)</span></figcaption></figure><p>“MTV's 2010 brand refresh was a transformational moment for the ‘not-so-much-music-anymore’ channel. Embracing its shift in programming from music videos to TV shows. It kept its bold, culturally edgy form but went completely mono, showing up as a mark with framed content as a subtle nod to a TV set,” says Chris. The stripped-back, simple logo, from MTV’s in-house team, dropped the words “music television” from the logo aimed to stand out in a noisy media landscape to reach a new millennial audience.</p><p>“A pure example of an iconic brand reimagining itself for a new generation,” he adds, “with simple changes and a fluid graphic block brand system that looks to take inspiration from the’ M’ character form.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:558px;"><p class="vanilla-image-block" style="padding-top:41.76%;"><img id="j3Mi48aaLjU7Q3m6okZoUB" name="mtv.jpeg" alt="MTV rebrand" src="https://cdn.mos.cms.futurecdn.net/j3Mi48aaLjU7Q3m6okZoUB.jpg" mos="" align="middle" fullscreen="" width="558" height="233" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: MTV)</span></figcaption></figure><h2 id="10-formula-1-2">10. Formula 1</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1280px;"><p class="vanilla-image-block" style="padding-top:62.50%;"><img id="npZPQiZzmdLQsJwdJyTRsL" name="F1.png" alt="F1 rebrand" src="https://cdn.mos.cms.futurecdn.net/npZPQiZzmdLQsJwdJyTRsL.png" mos="" align="middle" fullscreen="" width="1280" height="800" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: F1)</span></figcaption></figure><p>“The 2017 rebrand of F1 was a much-needed gear shift from the 1993 logo that had definitely outworn its welcome. The retro-influenced rebrand mark beautifully portrayed speed with the low profile design echoing the dynamic stance of the cars themselves,” says Chris Newell, creative partner at <a data-analytics-id="inline-link" href="https://wearesyn.com/">syn.</a>. “A sleek and modern update that absolutely did the job to bring F1 into a modern space.”<br><br></p><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/vtqq_KbfUx0" allowfullscreen></iframe></div></div><p>With direction from Wieden+Kennedy design lead Richard Turley (known for the Bloomberg Businessweek redesign), the modern-retro identity was designed to work across a multitude of applications, with digital front of mind. ““The new mark embodies the core forces of Formula 1 racing: speed, attack, and control; while its sleek, sharp interlocking components celebrate the technical prowess of Formula 1 engineering teams,” said Turley at the time. “Its aesthetic is aspirational and leans into the future, but extends naturally from a rich heritage of motorsport graphics.”</p><p>And it’s not just the logo that catches the eye for this global sports icon, says Chris’s colleague and creative Ben Jones. “The most beautiful rebrand with outstanding typography to match,” he adds. </p><p>The rebrand was followed by a sixty-second film, Engineered Insanity, in 2018, as part of a big multi-channel campaign.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1280px;"><p class="vanilla-image-block" style="padding-top:62.50%;"><img id="XZv2bmZesCdKXNzcvKge3Q" name="F1 clothing.png" alt="F1 rebrand" src="https://cdn.mos.cms.futurecdn.net/XZv2bmZesCdKXNzcvKge3Q.png" mos="" align="middle" fullscreen="" width="1280" height="800" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: F1)</span></figcaption></figure><h2 id="11-m-amp-s-2">11. M&S</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1264px;"><p class="vanilla-image-block" style="padding-top:54.91%;"><img id="pERgzB8dYmTgBkDsobpGgR" name="m&s.jpg" alt="M&S" src="https://cdn.mos.cms.futurecdn.net/pERgzB8dYmTgBkDsobpGgR.jpg" mos="" align="middle" fullscreen="" width="1264" height="694" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: M&S rebrand)</span></figcaption></figure><p>“[The 2010s] Marks & Spencer become M&S. It was introduced to ‘unify’ the retailer’s food and fashion offers which were advertised under different names. It’s timelessly simple. Like many retailers, M&S has faced challenges over the years, but their willingness to adapt has kept them as a British classic,” says Abigail.</p><p>As the new "Only M&S" identity of 2014 brought the clothing and homewares together with the brand’s food offering, the company also launched new ads alongside, including some of those classic M&S-style close-up food shots (though not quite on the food porn level as the ‘This is not just food’ campaign of 2004).</p><p>In 2015, the new M&S logo launched, with the lime green of the previous logo replaced with black, alongside a new typeface and the addition of “EST. 1884” giving the new design retro feel and highlighting the brand's heritage.</p><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/PZ4pctQMdg4" allowfullscreen></iframe></div></div><h2 id="12-juventus-2">12. Juventus</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:800px;"><p class="vanilla-image-block" style="padding-top:50.00%;"><img id="Sv3z4JK4f2ke2AgMvQ7pAe" name="Juventus.jpg" alt="Juventus old and new logos" src="https://cdn.mos.cms.futurecdn.net/Sv3z4JK4f2ke2AgMvQ7pAe.jpg" mos="" align="middle" fullscreen="" width="800" height="400" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Juventus FC)</span></figcaption></figure><p>“Rebranding a football club must be one of the most difficult tasks in the world. The passion of fans can easily scupper any branding revamps with a simple chant or online forum. However, Juventus somehow pulled off one of the finest rebrands in history to create something very unique and never really seen in football before. It’s more than just a club, and more of a sports or lifestyle brand to rival the likes or Nike or Adidas,” says Jonny, of the 2017 redesign from brand consultancy <a data-analytics-id="inline-link" href="https://interbrand.com/" target="_blank">Interbrand</a>. </p><p>“Luckily for Juventus, they hadn’t swayed too much over the years from a striped badge and a word mark, therefore creating a striped J that picked the shape of a football crest feels like a no brainer. Its beauty and simplicity make it one of those projects a designer dreams of and the impact it has is clear, standing out in a sea of badges, crests and roundels. Combined with some simple but sporty feeling typography used in many different ways to create layouts and merch, it’s full of spirit and confidence.”</p><p>If you're enjoying looking back, try out <a data-analytics-id="inline-link" href="https://www.creativebloq.com/tag/best-adverts-by-decade">best adverts of the decade</a> series.</p> ]]></dc:content> <link>https://www.creativebloq.com/features/the-best-rebrands-of-the-2010s</link> <description> <![CDATA[ As multi-channel campaigns evolved, brands turned to brazen adverts, stripped-back logos and brand new names ]]> </description> <guid isPermaLink="false">yKSrDXa9fRuByW9Un4exmS</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/pLLMykmwVrFmTi7BkUzJjE.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Tue, 30 Apr 2024 12:00:33 +0000</pubDate> <category><![CDATA[Rebrands of the decade]]></category> <category><![CDATA[Graphic Design]]></category> <category><![CDATA[Branding]]></category> <category><![CDATA[Creativity]]></category> <category><![CDATA[latest ]]></category> <author><![CDATA[ antoniawilson@live.co.uk (Antonia Wilson) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/pLLMykmwVrFmTi7BkUzJjE.jpg"> <media:credit><![CDATA[Oatly]]></media:credit> <media:text><![CDATA[Oatly]]></media:text> <media:title type="plain"><![CDATA[Oatly]]></media:title> </media:content> </item> <item> <title><![CDATA[ Microsoft’s impossible captchas are giving the internet an existential crisis ]]></title> <dc:content><![CDATA[ <p>If you've had the unfortunate pleasure of attempting to create a Microsoft account in recent years then you've likely encountered one rather frustrating obstacle – the captcha. While my confidence in the fact that I'm human is typically unwavering, Microsoft's bizarre captchas have made me question myself, and it seems I'm not alone. </p><p>For years there have been whisperings online about the confusing and convoluted nature of Microsoft's devious captchas. With seemingly unsolvable puzzles, captchas have come a long way since the days of deciphering jumbled letters or identifying traffic lights – but why? Of course, like everything that's good and existential in this world, it's <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-ai-art-generators">AI</a>. </p><blockquote class="reddit-card" ><a href="https://www.reddit.com/r/softwaregore/comments/rtgrw8/microsoft_captcha_ive_been_trying_to_create_an">Microsoft captcha... I've been trying to create an account for half an hour now.</a> from <a href="https://www.reddit.com/r/softwaregore">r/softwaregore</a></blockquote><script async src="//embed.redditmedia.com/widgets/platform.js" charset="UTF-8"></script><p>The issue has been brought to public attention via countless <a data-analytics-id="inline-link" href="https://answers.microsoft.com/en-us/msoffice/forum/all/the-new-captcha-is-so-hard-to-understand/4c322b5b-b659-4423-acd4-b60032e065ee" target="_blank">Microsoft Community</a> posts, many uttering the same problem – the captchas are next to impossible to solve. Whether they get trapped in a verification loop or are simply unsolvable, it's become enough of an issue that it has roused the attention of Reddit. In extreme cases, some users have reported losing hours trying to solve the puzzles, while many simply give up. </p><p>The strange captchas range from rotating an animal to the correct upright position to deciphering audio files or using cryptic visual clues to place a person in the correct position. Users on Reddit have theorised that the influx of bizarre verification puzzles is the work of <a data-analytics-id="inline-link" href="https://www.arkoselabs.com/" target="_blank">Arkose Labs</a> – a company focused on making purposely obscure captchas to train AI. With Microsoft listed as one of its big-name customers, it seems it's not just an empty conspiracy theory; there's a valid reason the company resorts to these puzzling designs. </p><blockquote class="reddit-card" ><a href="https://www.reddit.com/r/github/comments/1ag7jds/the_actual_fk_github_is_microsoft_really_that">The actual f**k github. Is microsoft really that desperate to get people to train their new AI technology?</a> from <a href="https://www.reddit.com/r/github">r/github</a></blockquote><script async src="//embed.redditmedia.com/widgets/platform.js" charset="UTF-8"></script><p>Unfortunately, it's a necessary evil as the old-school text-based captchas can be easily deciphered by current AI, making them redundant in protection against bots. It's not a surprise, as even back in the day, captchas were used to train AI models for the likes of Google Maps and transcription services, so it's natural that they'd have to amp up the difficulty. So while they're difficult for a reason, the theory is that they're also increasingly complex to collect data for AI training. The smarter AI gets, the harder it is for us to prove to Microsoft that we're real. Yep, that seems fair. </p><p>Thankfully, brands like <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/apple-solves-the-internet">Apple</a> have found ways around the internet's most irritating feature, enabling auto-verification options that mitigate the need to prove your human status. <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/bored-of-ai">AI is here</a> and it's increasingly interweaving itself into our everyday lives – the best we can do is try not to get too existential. And Microsoft, maybe cool it with the impossible captchas, haven't we suffered enough? </p> ]]></dc:content> <link>https://www.creativebloq.com/news/microsoft-captcha-confusing</link> <description> <![CDATA[ I'm not a robot… I think. ]]> </description> <guid isPermaLink="false">ZZsz85F3h4yvfhdQGBCHnb</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/zPQ6R46dkTdhFu4jMPYrBf.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Tue, 30 Apr 2024 11:00:00 +0000</pubDate> <category><![CDATA[News]]></category> <category><![CDATA[Microsoft]]></category> <category><![CDATA[Design]]></category> <category><![CDATA[Art]]></category> <category><![CDATA[games]]></category> <category><![CDATA[ai]]></category> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/zPQ6R46dkTdhFu4jMPYrBf.jpg"> <media:credit><![CDATA[Getty Images]]></media:credit> <media:text><![CDATA[Captcha ]]></media:text> <media:title type="plain"><![CDATA[Captcha ]]></media:title> </media:content> </item> <item> <title><![CDATA[ Wacom Cintiq Pro 17 review: a clever design delivers a larger drawing space ]]></title> <dc:content><![CDATA[ <div class="fancy-box"><div class="fancy_box-title">Wacom Cintiq 17 specs</div><div class="fancy_box_body"><p class="fancy-box__body-text"><strong>Display</strong> AG glass, 4k with 120HZ and 8ms refresh rate, 88% Adobe RGB and 99% DCI-P3 and HDR support<br><strong>Active work area</strong> 15.0 x 8.5 inches<br><strong>Features</strong> 8 ExpressKeys, multi-touch control, includes stand, expandable bezel, <br><strong>Stylus</strong> Pro Pen 3, with 8,192 levels of pressure sensitivity, 60 degrees tilt, battery-free<br><strong>Ports</strong> 1x mini Display Port, 1x HDMI, 1x USB Type-C<br><strong>Price</strong> $2,499.95 / £2,349.98</p></div></div><p>Many of you will be more than familiar with <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/the-best-wacom-tablet-deals">Wacom</a> thanks to its high-standard tablet offerings. Whether you’re a seasoned pro or just starting out on your creative journey, if you’re on the lookout for a trustworthy and efficient pen display that provides plenty of working space without taking over your setup, you’ll want to consider investing in the Wacom Cintiq Pro 17. </p><p>While Wacom has pitched towards the 'budget' end of the drawing tablet market in recent times with the release of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/wacom-one-family-range">Wacom One series</a> - read our <a data-analytics-id="inline-link" href="https://www.creativebloq.com/reviews/wacom-one-13-touch">Wacom One 13 Touch review</a> for a good example - the brand still caters for pro artists and studios, which is where the Cintiq Pro range fits. Read our guide to the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/best-drawing-tablet">best drawing tablets</a> for our picks.</p><p>The pitch for the new Wacom Cintiq Pro 17 is it's a pro-level drawing pen display for those who want the largest working area available but taking up as little space as possible. It's a growing trend, and while rival brands like <a data-analytics-id="inline-link" href="https://www.creativebloq.com/reviews/xencelabs-pen-display-24">Xencelabs</a> and XPPen choose to remove the QuickKeys and put them onto remote units, Wacom's design places them behind the display in ergonomically designed recesses. My review goes into how this clever design feels to use.</p><h2 id="wacom-cintiq-pro-17-review-in-the-box-2">Wacom Cintiq Pro 17 review: in the box</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1152px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="69ZqZEWvHJqTSGPfndhPeD" name="wacom-in-the-box.jpg" alt="Wacom Cintiq Pro 17 review; a large drawing tablet display and all its cables and stand" src="https://cdn.mos.cms.futurecdn.net/69ZqZEWvHJqTSGPfndhPeD.jpg" mos="" align="middle" fullscreen="" width="1152" height="648" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Inside the box is all you need, including the latest Wacom stylus, attachable 'dock' and a stand. </span><span class="credit" itemprop="copyrightHolder">(Image credit: Wacom)</span></figcaption></figure><p>Inside the box you’ll find the tablet, power and USB-C cables and a quick-start guide, plus a Pro Easy Stand and Pro Pen 3 with a tablet-mounted pen case. It's worth mentioning the packaging of the Cintiq Pro 17 is well-considered and, for the most part, consists of paper or plant-based materials.</p><p>Inside the robust outer box, you’ll find individual cardboard boxes holding the cables, the Pro Easy Stand, Pro Pen 3, and accessories behind and beneath the tablet. You can tell some thought has gone into the design of the packaging to allow for the use of sustainable materials while also offering a high level of protection.</p><p>I also like the little details, which include icons printed on each of the inner boxes so you know exactly where to find everything. What’s more, Wacom claims it uses recycled materials wherever possible, whether that be the packaging or product itself.</p><h2 id="wacom-cintiq-pro-17-review-design-and-display-2">Wacom Cintiq Pro 17 review: design and display</h2><p>As predicted, you get all of the premium quality and ergonomic design that you’d expect from a Wacom tablet at this price point. The 17-inch screen size doesn’t feel limiting, and offers you lots of real estate to work on without dominating the surface area of your desk.</p><p>The Wacom Cintiq Pro 17's impressive 4K anti-glare glass display offers 88% Adobe RGB and 99% DCI-P3 plus HDR support. All that means you can safely rely on the Wacom Cintiq Pro 17’s colour accuracy whether you’re an animator who wants to see how your visuals will look when projected onto a large screen, or an artist that wants to test how your art will appear when printed in CMYK. </p><p>The display also has an 8ms refresh rate and comes at 120Hz; a step up from the Cintiq Pro 16, which could only hit 60Hz. All in all, the Wacom Cintiq Pro 17 has an exceptional display that will suite every creative, from graphic designer to game modeller and motion artist.</p><h2 id="wacom-cintiq-pro-17-review-performance-2">Wacom Cintiq Pro 17 review: performance</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1152px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="4xzLBECK9jCoLsvQrU7P9b" name="dock.jpg" alt="Wacom Cintiq Pro 17 review; a large drawing tablet display with an attachable stylus dock" src="https://cdn.mos.cms.futurecdn.net/4xzLBECK9jCoLsvQrU7P9b.jpg" mos="" align="middle" fullscreen="" width="1152" height="648" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">The stylus holder can be screwed into either side or to the top of the pen display. </span><span class="credit" itemprop="copyrightHolder">(Image credit: Wacom)</span></figcaption></figure><p>The drawing experience on the Wacom Cintiq Pro 17 is a pleasant one. The display was wonderfully responsive and I encountered no issues with parallax or lagging, even when using some complex brushes on <a data-analytics-id="inline-link" href="https://www.creativebloq.com/reviews/affinity-designer-review">Affinity Designer</a>.</p><p>The Pro Pen 3 provides a precise and natural-feeling drawing experience courtesy of the 8,192 levels of pressure sensitivity and an improved tilt angle of +/-60 degrees. The standout feature of this pen is the high level of customisation on offer, so you can tailor it to suit your needs. You’re given the freedom to alter the pen’s weight, adjust the centre of gravity, switch between grips of various shapes, and change the number or position of the pen’s buttons.</p><p>The choices available for the button configurations are to have either three buttons or none. Different configurations are available to snap in, so the button plates will sit at the correct height whether you’re working with a pen grip or not. An advantage of being able to adjust these elements is that you can achieve a much more comfortable and ergonomic drawing experience, which can help to reduce the chances of hand and wrist fatigue.</p><p>Along with the Pro Pen 3, there’s also a useful pen holder that attaches to the tablet using a thumb wheel-operated bolt that you can screw into the thread on either the back, left, or right edges of the display. Inside, you’ll find the different grips, button configurations and metal weight, as well as additional standard and felt tips for the pen.</p><h2 id="wacom-cintiq-pro-17-review-hidden-features-2">Wacom Cintiq Pro 17 review: hidden features</h2><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1152px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="pMssbLKrCLpH54DSbjGntP" name="stand.jpg" alt="Wacom Cintiq Pro 17 review; a large drawing tablet display" src="https://cdn.mos.cms.futurecdn.net/pMssbLKrCLpH54DSbjGntP.jpg" mos="" align="middle" fullscreen="" width="1152" height="648" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">The unique Wacom deign places the QuickKeys into ergonomic handles on the rear, freeing up space on the front display. </span><span class="credit" itemprop="copyrightHolder">(Image credit: Wacom)</span></figcaption></figure><p>On the back of the tablet there are various ports that will ensure ease of connectivity. These include a USB-C, HDMI and mini display port. Located on the base, you’ll also find two hand grips on either side. These have eight configurable ExpressKeys, with four placed on each grip.</p><p>On top of the ExpressKey and Pro Pen 3 button controls, the tablet also utilises intuitive multi-touch gestures, making it easy to pan, zoom and rotate. While the touch gestures work well, I did miss the ability to customise the function of the two-finger touch gestures that are an option with some other branded tablets. That said, you’re still able to change the function of the three- or four-finger gestures, so it’s not the end of the world.</p><p>If you happen to want more freedom when it comes to your mounting options, you’ll be pleased to know Wacom has included a VESA 75 mount on the tablet base. Thanks to that, it’s possible to attach a variety of third-party options, which means you’re not limited to just the stands that Wacom offer.</p><p>Ultimately, the Wacom Cintiq Pro 17 is an all-round excellent piece of hardware that could prove to be an invaluable tool to aid you in the creation of your next 3D masterpiece.</p> ]]></dc:content> <link>https://www.creativebloq.com/reviews/wacom-cintiq-pro-17</link> <description> <![CDATA[ A smart ergonomic design. ]]> </description> <guid isPermaLink="false">N8QNuauHtL8oxiScxWrDx7</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/rwthjXgEfMQUwiVBdjwGei.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Tue, 30 Apr 2024 10:00:42 +0000</pubDate> <category><![CDATA[Digital Art]]></category> <category><![CDATA[3D]]></category> <category><![CDATA[Graphic Design]]></category> <category><![CDATA[Drawing Tablets]]></category> <category><![CDATA[Wacom]]></category> <category><![CDATA[Review]]></category> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/rwthjXgEfMQUwiVBdjwGei.jpg"> <media:credit><![CDATA[Wacom]]></media:credit> <media:text><![CDATA[Wacom Cintiq Pro 17 review; a large drawing tablet display]]></media:text> <media:title type="plain"><![CDATA[Wacom Cintiq Pro 17 review; a large drawing tablet display]]></media:title> </media:content> </item> <item> <title><![CDATA[ These bizarre AI optical illusions made me do a double take ]]></title> <dc:content><![CDATA[ <p>AI image generation has been responsible for some ghastly crimes against aesthetics lately, but here's an experiment that relates to one of our pet passions here at Creative Bloq: optical illusions. Researchers are using a modified AI text-to-image diffusion model to generate strange hybrid images that look different depending on certain factors.</p><p>They say they made slight adaptations to an existing <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-ai-art-generators">AI image generator</a> using a using a method called factorised diffusion. The results are quite striking.</p><div class="see-more see-more--clipped"><blockquote class="twitter-tweet hawk-ignore" data-lang="en"><p lang="en" dir="ltr">What do you see in these images?These are called hybrid images, originally proposed by Aude Oliva et al. They change appearance depending on size or viewing distance, and are just one kind of perceptual illusion that our method, Factorized Diffusion, can make. pic.twitter.com/mPgkxOc68k<a href="https://twitter.com/cantworkitout/status/1780795460283744677">April 18, 2024</a></p></blockquote><div class="see-more__filter"></div><div class="see-more__button-container"><span class="see-more__button" role="button" tabindex="0" aria-label="See more">See more</span></div></div><p>Daniel Geng, Inbum Park, Andrew Owens are researchers at the at the University of Michigan. They've modified an AI model so that it turns text descriptions into images that look different depending on how they're viewed. In some cases the optical illusion occurs when the image is viewed at different sizes. For example, what appears to be an image of Marilyn Monroe when viewed as a tiny thumbnail turns out to be an picture of houseplants when seen up close.</p><p>In another example, images appear to depict very different subjects depending on whether they are shown in colour or in black and white. And in a further example, motion blur creates the impression that the image shows something else (some of the examples require a bit of imagination in this case).</p><div class="see-more see-more--clipped"><blockquote class="twitter-tweet hawk-ignore" data-lang="en"><p lang="en" dir="ltr">And we can make these images that change when motion blurred pic.twitter.com/90ExSZ4Zwk<a href="https://twitter.com/cantworkitout/status/1780795464964575266">April 18, 2024</a></p></blockquote><div class="see-more__filter"></div><div class="see-more__button-container"><span class="see-more__button" role="button" tabindex="0" aria-label="See more">See more</span></div></div><p>Posting on X, Geng added that the team was also able to generate optical illusions from real photos by generating missing high frequencies. One example is a photo of Thomas Edison, which they had the AI make look like an image of a lightbulb when viewed at a small size. Using a Laplacian pyramid decomposition, they even managed to make some triple optical illusions, which appear to show three different scenes depending on the size at which the image is viewed.</p><div class="see-more see-more--clipped"><blockquote class="twitter-tweet hawk-ignore" data-lang="en"><p lang="en" dir="ltr">And by extracting low frequencies from a real image, and generating the missing high frequencies with our method, we can make hybrid images from real images. In effect we are solving a (noiseless) inverse problem. Anyways, here's Thomas Edison turning into a lightbulb: pic.twitter.com/tDQF8sY4CA<a href="https://twitter.com/cantworkitout/status/1780795471474164044">April 18, 2024</a></p></blockquote><div class="see-more__filter"></div><div class="see-more__button-container"><span class="see-more__button" role="button" tabindex="0" aria-label="See more">See more</span></div></div><p>Factorised diffusion works by decomposing an image into a sum of components, for example high and low frequencies, or grayscale and color components. An AI diffusion model is then used to control the individual components separately. More results can be seen on the team's <a data-analytics-id="inline-link" href="https://dangeng.github.io/factorized_diffusion/" target="_blank">website</a>, and the code can be found on <a data-analytics-id="inline-link" href="https://github.com/dangeng/visual_anagrams" target="_blank">Github</a>.</p><p>This seems like a more interesting and wholesome use of generative AI than creating deepfakes and the like. Some of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/ai-optical-illusion-subliminal-messages">AI optical illusions</a> we've seen before have led to concerns that companies or malicious actors might use the technology to try to plant hidden messages in content, something that recalls the subliminal advertising scare of the late 1950s and 1960s. However, there's been no evidence that subliminal messages actually work.</p> ]]></dc:content> <link>https://www.creativebloq.com/news/ai-optical-illusion-hybrid-images</link> <description> <![CDATA[ Images appear to transform at different sizes. ]]> </description> <guid isPermaLink="false">aqXeEpdJXeV987ToBYLR3T</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/286BKzWWD3wphLj9bQ3tNS.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Tue, 30 Apr 2024 06:00:00 +0000</pubDate> <author><![CDATA[ joe.foley@futurenet.com (Joe Foley) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/286BKzWWD3wphLj9bQ3tNS.jpg"> <media:credit><![CDATA[Keunhong Park]]></media:credit> <media:text><![CDATA[AI-generated optical illusions]]></media:text> <media:title type="plain"><![CDATA[AI-generated optical illusions]]></media:title> </media:content> </item> <item> <title><![CDATA[ I'm transfixed by the world's longest collaborative flipbook animation ]]></title> <dc:content><![CDATA[ <p>Earlier this year, a digital publication set out to make the longest collaborative flipbook animation ever made. Over a period of several weeks, participants took turns to trace the previous person’s lines. The result was 22,454 drawings, which were used to make 25 different animations.</p><p>The main flipbook-style animation video comprises 5,760 frames and lasts almost eight minutes. It begins with a perfect circle, but the circle quickly separates and becomes a squiggle that appears to take on a life of its own (see our pick of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-laptop-for-animation">best laptops for animatio</a>n if you need to upgrade your set up).</p><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/rYtYV8HqwpE" allowfullscreen></iframe></div></div><p><a data-analytics-id="inline-link" href="https://pudding.cool/projects/flipbook/" target="_blank"><u>The Pudding</u></a>, a site that "makes awesome stories with data", ran a few versions of experiment using different starting images. As well as the circle, it tried starting with a simple line, a triangle, a fish and even the outline of the state of Texas. Participants were asked to try to trace the shape drawn by the previous participant.</p><p>The result is an animation that's strangely hypnotising. Interestingly, the squiggles tended to wander towards the right side of the screen as the experiments progressed. The Pudding thinks this may be the result of participants (presumably right handed in the majority) touching slightly to the right of their target on touchscreens.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1000px;"><p class="vanilla-image-block" style="padding-top:56.30%;"><img id="Kew5xPgs69vQy7uS2ZEbG6" name="" alt="Images from a flipbook animation experiment" src="https://cdn.mos.cms.futurecdn.net/Kew5xPgs69vQy7uS2ZEbG6.jpg" mos="" align="middle" fullscreen="" width="1000" height="563" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">How the instructions for the flipbook animation experiment were presented </span><span class="credit" itemprop="copyrightHolder">(Image credit: The Pudding)</span></figcaption></figure><p>The Pudding secretly ran another experiment alongside this in order to test for the online disinhibition effect. It asked a proportion of participants for their personal details before they began drawing while others were asked afterwards. Its theory was that those who weren't asked to provide personal information first would be more inclined to draw inappropriate images, such as penises ("Without fail, any free-form drawing project on the internet yields phallic imagery"), it noted.</p><p>It said that despite its "best algorithmic efforts to thwart these from surfacing", two exemplary penis moments can still be spotted in the video above if you watch closely. It found the disinhibition effect to actually be quite mild, though it suspects that those participants that didn't have to provide their data up front may have known that personal information would be collected at some point.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1000px;"><p class="vanilla-image-block" style="padding-top:56.30%;"><img id="q9mSearzBbgDVp9c78VWG6" name="" alt="Images from a flipbook animation experiment" src="https://cdn.mos.cms.futurecdn.net/q9mSearzBbgDVp9c78VWG6.jpg" mos="" align="middle" fullscreen="" width="1000" height="563" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Some people couldn't help themselves, submitting these drawings in the experiment that began with a perfect circle </span><span class="credit" itemprop="copyrightHolder">(Image credit: The Pudding)</span></figcaption></figure><p>Overall, the experiment found a surprising lack of subversiveness, with 99.2% of people adhering to the prompt. The Pudding notes that the "small rebellious group yielded a meager four probable penises, some non-circle geometric shapes, hearts, flowers, human figures, and various other doodles". You can see a deeper exploration of the project in the video below.</p><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/MC4H2hFkFNU" allowfullscreen></iframe></div></div><p>For tools for your own animation, see our pick of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-animation-software">best 2D animation software.</a> We also have a piece on the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/advice/understand-the-12-principles-of-animation">Disney principles of animation</a>.</p> ]]></dc:content> <link>https://www.creativebloq.com/news/collaborative-flipbook-animation</link> <description> <![CDATA[ Some people couldn't resist subverting the experiment. ]]> </description> <guid isPermaLink="false">JynAZ2vCEYs87cCwfhZhaQ</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/dbbZjHscsiPAcpCRAQFoDk.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Tue, 30 Apr 2024 04:00:00 +0000</pubDate> <category><![CDATA[Art]]></category> <category><![CDATA[Graphic Design]]></category> <category><![CDATA[Digital Art]]></category> <category><![CDATA[Animation]]></category> <category><![CDATA[Illustration]]></category> <author><![CDATA[ joe.foley@futurenet.com (Joe Foley) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/dbbZjHscsiPAcpCRAQFoDk.jpg"> <media:credit><![CDATA[The Pudding]]></media:credit> <media:text><![CDATA[Text reads The Flipboard Experiment]]></media:text> <media:title type="plain"><![CDATA[Text reads The Flipboard Experiment]]></media:title> </media:content> </item> <item> <title><![CDATA[ Mice are bamboozled by these baffling optical illusions... and so am I ]]></title> <dc:content><![CDATA[ <p>We love a good optical illusion here at Creative Bloq. We even have a round up of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/optical-illusions">best optical illusions</a> around. And after all the time we've spent trying to get our heads around them, it comes as some solace that mice are also fooled by such visual trickery.</p><p>Why wouldn't they be?, You may ask. But scientists are excited by the discovery because it could open up new ways to research perception.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1000px;"><p class="vanilla-image-block" style="padding-top:56.30%;"><img id="7ZkwawH2MSXVxT88vz5Lfk" name="" alt="An example of a neon colour spreading optical illusion that shows the appearance of what looks like a white circle on a background of black and blue lines" src="https://cdn.mos.cms.futurecdn.net/7ZkwawH2MSXVxT88vz5Lfk.jpg" mos="" align="middle" fullscreen="" width="1000" height="563" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">In this example, it looks like there's a large blueish white circle in the centre of the image, but it's an optical illusion that results from neon colour spreading from the blue lines </span><span class="credit" itemprop="copyrightHolder">(Image credit: CC BY-SA 3.0)</span></figcaption></figure><p>The new research published in <a data-analytics-id="inline-link" href="https://www.nature.com/articles/s41467-024-46885-6" target="_blank"><u>Nature</u></a> specifically studied a type of optical illusion that involves what's called neon colour spreading. Falling into the category known as transparency effects, this kind of illusion is created by fluid borders between the edges of a colored object and the background when surrounded by black lines. Colour appears to spread from the coloured lines and create the illusion of an object that isn't there.<a data-analytics-id="inline-link" href="https://en.wikipedia.org/wiki/Neon_color_spreading#cite_note-sim-2"><u></u></a></p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1000px;"><p class="vanilla-image-block" style="padding-top:56.30%;"><img id="8itmcFa3WzwXCNMHaWqujk" name="" alt="An example of a neon colour spreading optical illusion that shows the appearance of what looks like a white circle on a background of black and blue lines" src="https://cdn.mos.cms.futurecdn.net/8itmcFa3WzwXCNMHaWqujk.jpg" mos="" align="middle" fullscreen="" width="1000" height="563" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Here, a large blue circle appears in the centre of the image, but only the lines are blue. The background is the same white as in the surrounding portion of the image </span><span class="credit" itemprop="copyrightHolder">(Image credit: CC BY-SA 3.0)</span></figcaption></figure><p>The new research <a data-analytics-id="inline-link" href="https://www.nature.com/articles/s41467-024-46885-6"><u></u></a>used an innovative combination of electrophysiology and optogenetics to explore how different levels of neurons process optical illusions in mice in order to settle a debate in neuroscience about which neurons in the brain are responsible for the perception of brightness.</p><p>After a visual stimulus reaches the eye, it’s taken to the brain by nerves and received by layers of neurons called V1, V2 etc. V1 is the first and most basic layer, and V2 and above are considered higher layers. By studying reactions to neon colour spreading optical illusions in mice, researchers found that V1 neurons respond to both illusory and non-illusory stimuli, while V2 neurons intensify the illusion by modulating V1 activity. This proves that that V2 neurons play a role in the perception of brightness.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1418px;"><p class="vanilla-image-block" style="padding-top:96.61%;"><img id="CZcqax5TJTfFwccqendrad" name="" alt="optical illusions" src="https://cdn.mos.cms.futurecdn.net/CZcqax5TJTfFwccqendrad.png" mos="" align="middle" fullscreen="" width="1418" height="1370" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Optical illusions shown to mice in the experiment. In the nine sets of white concentric circles, each contains gray segments at different positions. The gray color diffuses into the area between the circles, generating an illusory grating that appears darker than the black background </span><span class="credit" itemprop="copyrightHolder">(Image credit: Nature Communications / Alireza Saeedi, Kun Wang, Ghazaleh Nikpourian, Andreas Bartels, Nikos K. Logothetis, Nelson K. Totah & Masataka Watanabe )</span></figcaption></figure><p>The studies authors suggest the findings open new possibilities for using animal models to investigate neural mechanisms of perception and consciousness in cases where human studies can't be conducted.</p><p>For more visual trickery, see the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/bumpy-circle-optical-illusion">new optical illusion that scientists can't explain</a>.</p> ]]></dc:content> <link>https://www.creativebloq.com/news/neon-colour-spreading-optical-illusion</link> <description> <![CDATA[ I'm glad I'm not the only one imagining this circle. ]]> </description> <guid isPermaLink="false">Wzp5KwH28sQjGCGwXcDSAh</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/7ZkwawH2MSXVxT88vz5Lfk.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Mon, 29 Apr 2024 13:55:05 +0000</pubDate> <category><![CDATA[Graphic Design]]></category> <category><![CDATA[optical illusion]]></category> <category><![CDATA[News]]></category> <category><![CDATA[Digital Art]]></category> <author><![CDATA[ joe.foley@futurenet.com (Joe Foley) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/7ZkwawH2MSXVxT88vz5Lfk.jpg"> <media:credit><![CDATA[CC BY-SA 3.0]]></media:credit> <media:text><![CDATA[An example of a neon colour spreading optical illusion that shows the appearance of what looks like a white circle on a background of black and blue lines]]></media:text> <media:title type="plain"><![CDATA[An example of a neon colour spreading optical illusion that shows the appearance of what looks like a white circle on a background of black and blue lines]]></media:title> </media:content> </item> <item> <title><![CDATA[ Call of Duty job advert sparks AI controversy ]]></title> <dc:content><![CDATA[ <p>Call of Duty developer Treyarch has caused an uproar among fans for a recent job vacancy which listed "using generative AI tools" in its description. With a slew of recent AI controversies causing conflict in the gaming sector, it's clear that the integration of AI tech is an unwelcome development in the community. </p><p>While most fans were disappointed by the news, some saw it as an opportunity to adapt to the times. It's no secret that AI is taking over all aspects of the creative industry and <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/laptops-for-game-development">game development</a> is no different. Yet, with a community that prides itself on creativity, it increasingly feels like we're losing that precious human touch. </p><div class="see-more see-more--clipped"><blockquote class="twitter-tweet hawk-ignore" data-lang="en"><p lang="en" dir="ltr">A Treyarch job listing suggests the studio may be looking to use AI tools in art dev. An Animator role states a person will "polish 2D art made by humans and generative Al tools" Microsoft has been making a push for AI use in game development as part of their AI tools pic.twitter.com/GcJ6tIWLCl<a href="https://twitter.com/charlieINTEL/status/1784591242040352849">April 28, 2024</a></p></blockquote><div class="see-more__filter"></div><div class="see-more__button-container"><span class="see-more__button" role="button" tabindex="0" aria-label="See more">See more</span></div></div><p>The discovery was made by X account <a data-analytics-id="inline-link" href="https://twitter.com/charlieINTEL" target="_blank">@charlieINTEL</a> who shared the controversial job vacancy with fans. The description for the role of 2D Artist/Animator stated that the "successful candidate will be an Artist who is skilled in digital illustration, motion design, and using generative AI tools." They would also be required to "Polish 2D art made by humans and generative AI tools". </p><p>Responses were (understandably) heated, with film concept artist and illustrator <a data-analytics-id="inline-link" href="https://twitter.com/Rahll" target="_blank">Reid Southen</a> scathingly tweeting: "I know it's my personal dream job to pull a slot machine lever and polish the output for a triple A studio." Another commenter replied, "It’s gonna happen companies will choose AI as wages increase and costs increase to save money." </p><div class="see-more see-more--clipped"><blockquote class="twitter-tweet hawk-ignore" data-lang="en"><p lang="en" dir="ltr">Treyarch making it abundantly clear they have zero concerns about ethics, liability, or copyright with generative AI.I know it's my personal dream job to pull a slot machine lever and polish the output for a triple A studio. pic.twitter.com/2SS3Jv3TPl<a href="https://twitter.com/Rahll/status/1784314019504951330">April 27, 2024</a></p></blockquote><div class="see-more__filter"></div><div class="see-more__button-container"><span class="see-more__button" role="button" tabindex="0" aria-label="See more">See more</span></div></div><p>As we hear endless doom stories of AI armageddon, it seems that some have taken a more rational approach to the advancement of AI. "AI is our future and it's time to accept that. It was only a matter of time before game devs would start using the tools to their advantage.," one user writes. "Every company has to… or they will simply go out of business," another responded.</p><div class="see-more see-more--clipped"><blockquote class="twitter-tweet hawk-ignore" data-lang="en"><p lang="en" dir="ltr">I mean I don't know if You haven't realized but every creator tool and design tool has an a.i. feature somewhere on it now. A.i. is our future and it's time to accept that. It was only a matter time before game devs would start using the tools to there advantage. Nvidia is a…<a href="https://twitter.com/DynamicScav/status/1784839042992931228">April 29, 2024</a></p></blockquote><div class="see-more__filter"></div><div class="see-more__button-container"><span class="see-more__button" role="button" tabindex="0" aria-label="See more">See more</span></div></div><p>For more AI debate, check out <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/magic-ai-art-controversy">Magic: The Gathering's AI art controversy</a>. If you need a reminder that AI isn't set for total annihilation (just yet), take a look at why <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/ai-gadget-problems">AI gadgets are in trouble</a> thanks to teething problems with the Humane AI Pin and Rabbit R1.</p> ]]></dc:content> <link>https://www.creativebloq.com/news/call-of-duty-treyarch-ai-controversy</link> <description> <![CDATA[ "It was only a matter of time". ]]> </description> <guid isPermaLink="false">rB7eiAbWq3AeARVGMrTZBe</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/bJa3vdvq3PBMrRWJuto4sQ.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Mon, 29 Apr 2024 12:00:00 +0000</pubDate> <category><![CDATA[News]]></category> <category><![CDATA[ai]]></category> <category><![CDATA[ai art]]></category> <category><![CDATA[gaming]]></category> <category><![CDATA[game development]]></category> <category><![CDATA[Animation]]></category> <category><![CDATA[game art]]></category> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/bJa3vdvq3PBMrRWJuto4sQ.jpg"> <media:credit><![CDATA[Getty Images]]></media:credit> <media:text><![CDATA[Call of Duty ]]></media:text> <media:title type="plain"><![CDATA[Call of Duty ]]></media:title> </media:content> </item> <item> <title><![CDATA[ Nvidia RTX 4080 Super review: one of the fastest GPUs I've used ]]></title> <dc:content><![CDATA[ <p>Nvidia releases cards at a fairly rapid rate, with each successive series being a leap forward over the last. This has been no different for its 40 Series cards, and the new Nvidia RTX 4080 Super. The jump in performance over the Nvidia 30 Series is impressive (and remain some of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-nvidia-graphics-card">best Nvidia graphic cards</a>), although those older cards are still excellent options.</p><p>That said, the updates within the Nvidia 40 Series have been more incremental. Both the 4080 and 4090 are exceptional performers for gaming and content creation, with suitably impressive benchmark results.</p><p>So what’s offered mid-series by the addition of the Super versions? A small increase in performance is there for sure, plus a £200 price reduction compared to the Founder’s Edition. That probably doesn’t warrant an upgrade in and of itself though, especially as the hoped-for 20GB of VRAM hasn’t appeared, although the 16GB GDDR6X memory is a touch faster than before.</p><div class="fancy-box"><div class="fancy_box-title">Nvidia RTX 4080 Super specs</div><div class="fancy_box_body"><p class="fancy-box__body-text"><strong>DLSS</strong> DLSS 3<br><strong>Shader Cores</strong> Ada Lovelace 52 TFLOPS<br><strong>Ray Tracing Cores</strong> 3rd Gen 121 TFLOPS<br><strong>Tensor Cores</strong> (AI) 4th Gen 836 AI TOPS<br><strong>NVENC</strong> 2x 8th Gen with AV1<br><strong>VRAM</strong> 16GB GDDR6X</p></div></div><p>However, the Nvidia RTX 4080 Super is still one of the best-performing cards on the market, so for those who are currently using a 30 Series or older, the benefits are huge. Testing results show this as the second-fastest GPU within the GeForce range, beaten only by the goliath 4090, which costs significantly more.</p><p>The 4080 Super excels at ray tracing, so the rendering power user will be in for a pleasant experience. Results from Cinebench testing bear this out, and running games such as Cyberpunk 2077 show similarly impressive results.</p><p>Do keep in mind that this is a huge card. It’s big enough and heavy enough to ship with a support arm for your case to prevent any straining on your connections. It requires system power of 750 watts, and for those without an ATX 3.0 case there’s an adapter included for the power cables.</p><figure><blockquote><p>This is one of the best performing cards on the market</p></blockquote></figure><div class="fancy-box"><div class="fancy_box-title"></div><div class="fancy_box_body"><p class="fancy-box__body-text">GPUs used to be easily discernible as either gaming cards or creative-use cards, but those lines are blurred these days.<br>Nvidia offers some of its cards the ability to use its studio drivers, which work differently from the standard consumer ones, making the GPU more suited for DCCs like 3D rendering and animation. <br>There’s no extra cost for this, but it does make a difference when using the GPU in this context, so well worth exploring.</p></div></div><p>If you’re one for glass-sided cases, with your workstation’s innards resembling Blackpool Pleasure Beach, then you’ll like the design here, as the Nvidia RTX 4080 Super is sleek, with a nice shell, a single large fan on cooling duties, and the logo glows softly in white. That large fan does a good job too and even under load isn’t obnoxiously loud, as some others can be. Meanwhile, linking up to your displays is done via the three DisplayPort connections and a single HDMI port, common with GeForce cards.</p><p>All in all, this is a fantastic card and one 3D artists can take advantage of. It’s one of the most powerful graphics cards out there, but probably not worth upgrading from the Founder’s Edition. (Read our guide to the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/best-graphics-cards">best graphics cards</a> to see more GPUs.)</p><p>If you’re on any GPU other than the 4090, this is the one to get. There aren’t huge leaps in speed, but the price drop makes it the best card under £1,000 and one of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-budget-graphics-card">best budget graphics cards</a> when you factor in performance and value. (The price is $1,215 / £960 from the <a data-analytics-id="inline-link" href="https://store.nvidia.com/en-gb/geforce/store/" target="_blank">Nvidia store</a>.)</p> ]]></dc:content> <link>https://www.creativebloq.com/reviews/nvidia-rtx-4080-super</link> <description> <![CDATA[ Looking to upgrade? This is the GPU you need. ]]> </description> <guid isPermaLink="false">wSun6mkvMEJLeJ4AESHyv</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/BiFekq8eFv9BiFA9XGoSuF.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Mon, 29 Apr 2024 11:00:00 +0000</pubDate> <category><![CDATA[Digital Art]]></category> <category><![CDATA[game development]]></category> <category><![CDATA[game art]]></category> <category><![CDATA[entertainment]]></category> <category><![CDATA[Film]]></category> <category><![CDATA[3D modelling]]></category> <category><![CDATA[VFX]]></category> <category><![CDATA[gaming]]></category> <category><![CDATA[rendering]]></category> <category><![CDATA[laptops]]></category> <category><![CDATA[Motion graphics]]></category> <category><![CDATA[3D]]></category> <author><![CDATA[ rob.redman@futurenet.com (Rob Redman) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/BiFekq8eFv9BiFA9XGoSuF.jpg"> <media:credit><![CDATA[Nvidia]]></media:credit> <media:text><![CDATA[Nvidia RTX 4080 Super; a black GPU]]></media:text> <media:title type="plain"><![CDATA[Nvidia RTX 4080 Super; a black GPU]]></media:title> </media:content> </item> <item> <title><![CDATA[ How to sculpt a reptilian creature using ZBrush, Maya and Substance 3D ]]></title> <dc:content><![CDATA[ <p>In this tutorial, I’m going to show you how I used a suite of 3D software to bring a character to life. Meet Crocodylus! He’s a creation of mine from the Mesozoic Era, and is inspired by the crocodiles found in the East Kalimantan province of my home country, Indonesia. </p><p>The 3D character pipeline involves several stages, each with its own set of tools and techniques. One of the most popular used for the sculpting phase is ZBrush, which formed the basis for Crocodylus. For more on this software, see our guide to <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/zbrush-everything-you-need-to-know">ZBrush: everything you need to know</a>, and our <a data-analytics-id="inline-link" href="https://www.creativebloq.com/reviews/zbrush-2023">ZBrush 2023 review</a> covers the latest updates. If you need to upgrade your kit read our guide to the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/best-drawing-tablet">best drawing tablets</a> and the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/laptops-for-game-development">best laptops for game development</a>.</p><p>ZBrush's feature set includes digital sculpting tools that simulate the behaviour of clay, allowing artists to sculpt intricate little touches, add textures, and create detailed models. It offers various brushes, masking tools, and features like DynaMesh and ZRemesher, which help in manipulating and refining the geometry of the model. </p><figure><blockquote><p>This tutorial isn’t just for the more experienced 3D artists out there, as my goal is to help inspire newer artists to delve into the captivating world of character design</p></blockquote></figure><p>ZBrush is a boon for creativity, helping artists to transform their imagination into reality. It forms one of the key tools I used to create my fearsome character alongside other vital software in <a data-analytics-id="inline-link" href="https://www.creativebloq.com/3d-tips/maya-tutorials-1232745https://www.creativebloq.com/reviews/maya-2024">Maya</a>, which was used for my retopology, <a data-analytics-id="inline-link" href="https://www.creativebloq.com/reviews/adobe-substance-3d">Substance 3D Painter</a> for the texturing work, and then <a data-analytics-id="inline-link" href="https://www.creativebloq.com/reviews/marmoset-toolbag-3-review">Marmoset Toolbag</a> for creating the final render. </p><p>To complete the project, I then took my render into <a data-analytics-id="inline-link" href="https://www.creativebloq.com/tag/photoshop">Photoshop</a> for some final post-production touch-ups, bringing out its best. Though there wasn’t much to be done, it helped to make the character a little more snappy. </p><p>This tutorial isn’t just for the more experienced 3D artists out there, as my goal is to help inspire newer artists to delve into the captivating world of character design and modelling work too. If you visit my Instagram profile, you’ll also find a <a data-analytics-id="inline-link" href="https://www.instagram.com/p/C1WNdHprL0D/" target="_blank">timelapse video of my work on the character</a>. Hopefully you’ll be able to learn some new techniques here, so let’s get stuck into the process of creating Crocodylus!</p><h2 id="zbrush-maya-substance-3d-tutorial-sculpt-a-creature-2">ZBrush/Maya/Substance 3D tutorial: sculpt a creature</h2><p>Here are the steps I took to bring Crocodylus to life. For all the assets you need to recreate the character for yourself, head to the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/download-files-for-3d-world-309">3D World download page</a>.</p><section class="howto-block"> <h3>01. Sculpt the body</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/rcoRe3RMZ7RTjTS2aGqwMY.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/rcoRe3RMZ7RTjTS2aGqwMY.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>Start off with a basic sphere with DynaMesh on, and at a high resolution. Now sculpt the shape and volume of your character, and don’t forget to turn the Symmetry on. For this I’ll generally use the basic brushes such as Move, Clay, ClayBuildup and Dam Standard. After you’re done, run a first pass in ZRemesher to clean up the topology. I target a polycount of 5 at first, but you can go lower if you need to. Remember to do this step-by-step.</p></p> </section><section class="howto-block"> <h3>02. Add the armour and weapon</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/oFrCtaDwoEaMHKKSct5yGZ.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/oFrCtaDwoEaMHKKSct5yGZ.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>Masking is the key here. Create a rough mask all around the body and then Extract to get the basic shape. You can make adjustments with the brush tools. This is the easiest way to create elements like the armour, cloth, and so on. Hit Accept, and with the Move brush go around the model to get the shape you need. Since the weapon is hard surface, I used Maya to get the basic shape and then brought it into ZBrush for the fine details, such as the corrosion on the metal.</p></p> </section><section class="howto-block"> <h3>03. Get ready with Polygroup</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/4TppSR3aXnmeefYbqzSMcY.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/4TppSR3aXnmeefYbqzSMcY.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>In ZBrush, the Polygroup feature lets you organise and manage different groups of polygons within a mesh. These groups can be selected, masked, hidden, or manipulated independently to enable easier and more precise sculpting, painting and other operations. <br></p><p>They streamline the workflow, especially working on complex surfaces or with multiple parts in a single mesh. Commonly I use ‘Group by Mask’, or ‘Group by UV’ when you have the UV. To select a Polygroup hit Ctrl+Shift and click on it, or head over to the Polygroup menu to find various selection options.</p></p> </section><section class="howto-block"> <h3>04. Prepare for the reptopology in Maya</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/fXBSb6ZHaZcWiYuRyt877Y.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/fXBSb6ZHaZcWiYuRyt877Y.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>It’s best to retopologise before you begin to create the details so that you can get going with clean topology, which makes it easier to enhance your intricate touches. With that done, follow over to Zplugin > Decimation Master and click Preprocess Current, followed by Decimation Current when that has been completed. </p></p><p><p>This is particularly useful when you have a high-resolution model with an excessive number of polygons and want to either optimise it for performance, or export to other software. This part is boring, but it’s important for cleaning up your topology so it’s production-ready.</p></p> </section><section class="howto-block"> <h3>05. UV the low-poly</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/UBBPLUqiwdT32WKsddskn9.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/UBBPLUqiwdT32WKsddskn9.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>In order to UV-map a low-polygon model in Maya, we need to unwrap its surface and create a 2D representation to enable the textures to be applied accurately. UV each part of your model, but remember that you must decide each group you want to combine into a single UV layout. I’ll generally separate the head, body, weapons and armour. Practice and experimentation will help refine your UV mapping.</p></p> </section><section class="howto-block"> <h3>06. Reproject the high-poly</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/AuMq9cAFJjapk6eR3XJUUY.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/AuMq9cAFJjapk6eR3XJUUY.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>Now we have to project the lowpoly we made in Maya with the high-poly in ZBrush, as we need our high-poly to have the UVs for baking. Export from Maya as an OBJ, making sure you have your group ready. In the SubTool tab click Project and be careful to project each division from the low-poly to the high-poly.</p></p> </section><section class="howto-block"> <h3>07. Sculpt the details</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/hko5z7Uf6Z5cQQoa2oqowY.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/hko5z7Uf6Z5cQQoa2oqowY.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>ZBrush provides a plethora of tools and techniques to sculpt intricate details. Experimentation and familiarity with these tools will greatly enhance your ability to create stunning, detailed models. For this job you can use brushes like the Standard, Dam Standard, ClayBuildup, and Inflate/Deflate. </p></p><p><p>I also use the Alpha map for tiny details such as the pores and skin texture. Load the alphas from the Alpha palette or make and import your own specific details. Always remember to sculpt the correct anatomy before you move on to the alpha and detailing.</p></p> </section><section class="howto-block"> <h3>08. Get started with the Polypaint tool</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/Eo2jc7d9UpFchLv7KLqemY.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/Eo2jc7d9UpFchLv7KLqemY.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>Polypaint in ZBrush is a feature that allows you to paint directly onto the surface of your models. It’s a powerful tool for adding colour, texture and fine details. You can choose Standard brush, then change the stroke to Color Spray with a low RGB Intensity of around 20-30. I find that Polypaint is great to get a base colour down before moving into Substance 3D Painter, where I’ll paint over again for a better result.</p></p> </section><section class="howto-block"> <h3>09. Make the pose</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/bVcXkH4MbtPw4rhoPTTEyX.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/bVcXkH4MbtPw4rhoPTTEyX.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>When you’re happy with your Polypainting work, you can continue to posing the character. The reason we do this after the Polypainting is because we need the symmetry, but if you’re willing to do without that for a personal project you can skip that job. </p></p><p><p>To make the pose go to your Zplugin tab and hit TPoseMesh. Mask the area you want to move and click ‘TPose > SubT’. ZBrush will then generate all the SubTools you moved with TPoseMesh.</p></p> </section><section class="howto-block"> <h3>10. Substance 3D Painter and Mesh Baking</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/2NDWBYv6URvURJob7Qogia.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/2NDWBYv6URvURJob7Qogia.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>With your mesh saved as either an FBX or OBJ file with a 2K or 4K resolution, switch to Substance 3D Painter, click Import>New Project and import the low-poly mesh into the file selection. After you create the project, click any texture set then select the Bake Mesh Map button and load up the high-poly. One important note before you bring the highpoly in for baking is to follow the Decimation process as I outlined in Step 04. Select everything you need and don’t forget to turn on Keep UV and Keep Polypaint in the Decimation Master tab.</p></p> </section><section class="howto-block"> <h3>11. Add base colour</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/JwbGGwMKhZsYqbtPDmTjvV.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/JwbGGwMKhZsYqbtPDmTjvV.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>Once you’ve got your low-poly bake, it’s time to start with the base colour texture. First, import the base colour you made into Polypaint to Substance 3D Painter. Create a fill layer with just a Color node and import all the textures. Follow this step for the whole texture set list based on how many Material Sets you assigned in Maya.</p></p> </section><section class="howto-block"> <h3>12. Refine texture in Substance</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/3LB2vpbwiHiq6eddpnxo2a.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/3LB2vpbwiHiq6eddpnxo2a.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>You can make further refinements and enhancements to the texture using Substance 3D Painter’s wide array of tools and features. These include placing additional details, tweaking your colours, applying masks, adding in effects and more. While you already have you’re base colour set, you can start to apply more paint with the brush in Substance 3D Painter.</p></p> </section><section class="howto-block"> <h3>13. Use masking and generators</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/JybevxS7fnpKCVbwHCEbSZ.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/JybevxS7fnpKCVbwHCEbSZ.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>In Substance 3D Painter, masks and generators are powerful features that allow for precise control and creation of texture details. By effectively combining masking techniques to control where effects are applied, and generators to create diverse textures and details like dirt, the software offers a robust workflow for creating intricate and realistic textures for your models. Apply generators to masked areas to add specific effects or textures, creating variations and detailed elements on the model’s surface. The mask and generator settings can control the intensity, scale and placement of effects.</p></p> </section><section class="howto-block"> <h3>14. Create custom materials</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/PiWpHtXESVVfw4PXVuewFa.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/PiWpHtXESVVfw4PXVuewFa.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>Substance 3D Painter follows the Physically Based Rendering (PBR) workflow. These PBR materials are typically composed of Base Color (Albedo), Metallic, Normal and Roughness maps, and sometimes extra maps for Height, Ambient Occlusion, and so on. Combining different materials and layering using masks is an excellent way to make unique-looking textures, while creating the final rendered appearance at the same time. <br></p><p>This means that materials are created to simulate real-world properties and how they respond to light. You can create custom materials by combining different channels such as the Base Color, Roughness, Metallic, Normal, Height and more. These channels define different aspects of the material’s appearance.</p></p> </section><section class="howto-block"> <h3>15. Export the texture</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/HrVPL78sBJK9b36VvkBSEY.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/HrVPL78sBJK9b36VvkBSEY.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>Exporting textures from Substance 3D Painter is a crucial step once you’ve finished creating and refining your materials. After the export, you’ll have separate texture maps – in formats like PNG, TIFF, and the like – for each selected channel of your texture sets. These exported textures can then be used across various 3D software, game engines or render platforms to apply the materials and textures to your models. </p></p><p><p>You can choose your output directory, as well as the output template like Unreal Engine, the file type and size, and also the padding based on the project you‘re working on.</p></p> </section><section class="howto-block"> <h3>16. Render in Marmoset</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/A9H8ub4owa3ogtK34DFtUa.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/A9H8ub4owa3ogtK34DFtUa.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>With your work in Substance 3D Painter now complete, open up Marmoset Toolbag and start a new project. Import your model into the scene by either dragging and dropping the file into the Viewport, or by using the Import option from the menu. Now apply the materials to your model within Marmoset Toolbag. You can use the materials you exported from Substance 3D Painter or create new ones within Marmoset. </p></p><p><p>Assign the texture maps you exported from Substance Painter (the Base Color, Normal, Metallic, Roughness, and so on) to their respective material channels in Marmoset. You can do this by loading up the textures into the appropriate slots in the Material Editor, and also add light and sky for the lighting setup.</p></p> </section><section class="howto-block"> <h3>17. Post-production in Photoshop</h3> <figure> <p class="bordeaux-image-check"> <img src="https://cdn.mos.cms.futurecdn.net/Nu9KuJTaNhQAgXULRcTx6Z.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" onerror="this.parentNode.replaceChild(window.missingImage(),this)" data-pin-media="https://cdn.mos.cms.futurecdn.net/Nu9KuJTaNhQAgXULRcTx6Z.jpg" class="expandable van-old-layout-image"> </p><div class="credit">(Image: © Richard Jusuf)</div></figure> <p><p>When you’re happy with your render, hit F10 in Marmoset and set the directory file. Utilising Photoshop for post-production enables you to refine and polish your rendered images to improve their visual impact, and ensure the final result matches with your creative vision. </p></p><p><p>Post-production is a powerful tool for taking your renders to the next level of quality and visual appeal, so why not bring them all over to your software of choice. For my project there wasn’t much do in this step, so I just tweaked the Curve, Selective Color, and Color Lookup adjustment layers to change to the intensity.</p></p> </section><div class="inlinegallery inline-layout"><div class="inlinegallery-wrap" style="display:flex; flex-flow:row nowrap;"><div class="inlinegallery-item" style="flex: 0 0 auto;"><span class="slidecount">Image 1 of 3</span><figure class="van-image-figure " data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:2000px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="atuUeVjigFSLVKfusToPcZ" name="TDW309.t_alien_design.pe_marmoset_crocodylus_finalrender.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" src="https://cdn.mos.cms.futurecdn.net/atuUeVjigFSLVKfusToPcZ.jpg" mos="" link="" align="" fullscreen="" width="2000" height="1125" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=""><span class="credit" itemprop="copyrightHolder">(Image credit: Richard Jusuf)</span></figcaption></figure></div><div class="inlinegallery-item" style="flex: 0 0 auto;"><span class="slidecount">Image 2 of 3</span><figure class="van-image-figure " data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:2000px;"><p class="vanilla-image-block" style="padding-top:64.50%;"><img id="DrvuiaUzce5bEy8vJYoSqZ" name="TDW309.t_alien_design.pe_marmoset_crocodylusback.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" src="https://cdn.mos.cms.futurecdn.net/DrvuiaUzce5bEy8vJYoSqZ.jpg" mos="" link="" align="" fullscreen="" width="2000" height="1290" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=""><span class="credit" itemprop="copyrightHolder">(Image credit: Richard Jusuf)</span></figcaption></figure></div><div class="inlinegallery-item" style="flex: 0 0 auto;"><span class="slidecount">Image 3 of 3</span><figure class="van-image-figure " data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:2000px;"><p class="vanilla-image-block" style="padding-top:63.95%;"><img id="w4MuNYYMzQWHJQU5AUYD7b" name="TDW309.t_alien_design.pe_marmoset_crocodylusfrontzoom.jpg" alt="3D render of reptilian character Crocodylus by Richard Jusuf" src="https://cdn.mos.cms.futurecdn.net/w4MuNYYMzQWHJQU5AUYD7b.jpg" mos="" link="" align="" fullscreen="" width="2000" height="1279" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=""><span class="credit" itemprop="copyrightHolder">(Image credit: Richard Jusuf)</span></figcaption></figure><p class="slide-description">The final render of Crocodylus.</p></div></div></div><h2 id="zbrush-character-sculpting-pro-tips-2">ZBrush character sculpting: pro tips</h2><p>Here are a few key tips and things to keep in mind when hopping between software to create a character:</p><section class="article__schema-question"><h3>01. High-res sculpts</h3><article class="article__schema-answer"><p>Working on a high-resolution sculpt by starting with a lower Subdivision level such as 1 or 2 is a common and effective approach in digital sculpting, especially in programs like ZBrush. This method offers several advantages for maintaining your shape and is much easier to control.</p></article></section><section class="article__schema-question"><h3>02. Enhance detail</h3><article class="article__schema-answer"><p>Applying techniques like masking, Cavity maps, and employing deformations such as Inflate in ZBrush can enhance a sculpt. This enables artists to emphasise or modify specific areas based on the details extracted from the Cavity map.</p></article></section><section class="article__schema-question"><h3>03. Control the Roughness texture</h3><article class="article__schema-answer"><p>Combining different maps from various software can enhance the quality and realism of your materials in 3D modelling. When you merge a Cavity map from ZBrush and a Roughness map from Substance 3D Painter, you can create more detailed and visually compelling materials.</p></article></section><h2 id="get-more-software-tutorials-in-3d-world-2">Get more software tutorials in 3D World</h2><p>This content originally appeared in 3D World magazine, the world's leading CG art magazine. 3D World is on sale in the UK, Europe, United States, Canada, Australia and more. Limited numbers of 3D World print editions are available for delivery from our online store (the shipping costs are included in all prices). <a data-analytics-id="inline-link" href="https://www.magazinesdirect.com/az-magazines/6936329/3d-world-magazine-subscription.thtml?j=TDW" target="_blank">Subscribe to 3D World at Magazines Direct</a>.</p> ]]></dc:content> <link>https://www.creativebloq.com/how-to/sculpt-a-creature-using-zbrush-maya-and-substance-3d</link> <description> <![CDATA[ Use a mix of software to craft a production-ready character. ]]> </description> <guid isPermaLink="false">itUXR257WsDCmpmvF3cU6X</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/atuUeVjigFSLVKfusToPcZ.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Mon, 29 Apr 2024 10:00:14 +0000</pubDate> <category><![CDATA[Tutorial]]></category> <category><![CDATA[ZBrush]]></category> <category><![CDATA[Photoshop]]></category> <category><![CDATA[how to]]></category> <category><![CDATA[magcontent]]></category> <category><![CDATA[3D modelling]]></category> <category><![CDATA[Maya]]></category> <category><![CDATA[Adobe]]></category> <category><![CDATA[game art]]></category> <category><![CDATA[Film]]></category> <category><![CDATA[entertainment]]></category> <category><![CDATA[Adobe Substance 3D Modeler]]></category> <category><![CDATA[3D]]></category> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/atuUeVjigFSLVKfusToPcZ.jpg"> <media:credit><![CDATA[Richard Jusuf]]></media:credit> <media:text><![CDATA[3D render of reptilian character Crocodylus by Richard Jusuf]]></media:text> <media:title type="plain"><![CDATA[3D render of reptilian character Crocodylus by Richard Jusuf]]></media:title> </media:content> </item> <item> <title><![CDATA[ My 3 favourite Disney character design conspiracy theories ]]></title> <dc:content><![CDATA[ <p>Disney has created some of the most memorable and most loved characters in animation. While many are based on fairy tales and legends of old, Disney movies have also spawned their own mythologies. And just as there are there are elaborate <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/wild-seo-conspiracy-theories">SEO conspiracy theories</a> about Walt Disney himself, fans have some interesting theories about characters in the studio's movies.</p><p>Self-styled movie detective Ivan Mars has dedicated himself to unveiling hidden Easter eggs and unlikely links between Disney movies and characters, from the Snow White Evil Queen's alleged reincarnation as Mother Gothel in Tangled to a link between Beauty and the Beast and Tarzan (yes, really). His videos have become so popular that even a Disney animator dropped by to clear up certain matters. Here are my three favourite theories.</p><h2 id="01-mother-gothel-from-tangled-is-the-evil-queen-from-snow-white-2">01. Mother Gothel from Tangled is the Evil Queen from Snow White</h2><div class="instagram-embed"><blockquote class="instagram-media" data-instgrm-captioned data-instgrm-version="6" style="width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><p><a href="https://www.instagram.com/p/C2u5T8wqrwM/" target="_blank">A post shared by Ivan Mars</a></p><p>A photo posted by its_ivanmars on </p></blockquote></div><p>Ivan says it took him 13 years to notice a whole string of apparent coincidences linking the Evil Queen from the 1937 film Snow White and the Seven Dwarves to Mother Gothel in 2011's Tangled.</p><p>It's perhaps not so surprising that stories both take place in southern Germany considering the region's influence on European fairy tale tradition. The theme of an obsession with staying young and beautiful is also a recurrent theme in many tales. But for Ivan, the most suspicious link of all is a red apple is painted on the wall in Mother Gothel's tower – surely a blatant Easter egg for eagle-eyed fans? Not so, says Nathan Greno. The director Tangled himself dropped in on the post to deny any intentional connections between the two characters.</p><h2 id="02-hercules-killed-scar-in-the-lion-king-2">02. Hercules killed Scar in the Lion King</h2><div class="instagram-embed"><blockquote class="instagram-media" data-instgrm-captioned data-instgrm-version="6" style="width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><p><a href="https://www.instagram.com/p/C5YujR8qZOS/" target="_blank">A post shared by Ivan Mars</a></p><p>A photo posted by its_ivanmars on </p></blockquote></div><p>Here Ivan dives into Greek mythology. The first of Hercules' 12 labours was to slay the Nemean lion and wear its pelt. In Disney's 1997 film, at one point Hercules appears to have what looks like the pelt of Scar from Lion King. Of course, Scar was supposed to have been eaten hyenas, but fans suggest Disney dropped this in as an Easter egg linking to a line from Zasu the red-billed hornbill who said in the Lion King that Scar would make a hansome throw rug.</p><h2 id="03-jane-in-tarzan-is-the-great-granddaughter-of-belle-from-beauty-and-the-beast-2">03. Jane in Tarzan is the great granddaughter of Belle from Beauty and the Beast</h2><div class="instagram-embed"><blockquote class="instagram-media" data-instgrm-captioned data-instgrm-version="6" style="width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><p><a href="https://www.instagram.com/p/C4yNmWjqVXe/" target="_blank">A post shared by Ivan Mars</a></p><p>A photo posted by its_ivanmars on </p></blockquote></div><p>A teapot is the main evidence in the wild theory that Belle of Beauty and the Beast fled France to avoid losing her head during the French revolution and settled in England. As well as inheriting her teapot, her English granddaughter Belle shares her penchant for yellow dresses and for trying to civilise wild men.</p><p>Is there anything in it or does Disney just have a limited number of character tropes that it tends to recycle? I'll let you decide. You can see more of Ivan's theories on his <a data-analytics-id="inline-link" href="https://www.instagram.com/p/C2u5T8wqrwM/" target="_blank">Instagram channel</a>. For shocking character revelations, see these <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/how-disney-characters-could-have-looked">original Disney character designs</a> that were radically changed for the final films. And for inspiration for your own work, don't miss our <a data-analytics-id="inline-link" href="https://www.creativebloq.com/character-design/tips-5132643">character design tips</a>.</p> ]]></dc:content> <link>https://www.creativebloq.com/news/disney-character-design-conspiracy-theories</link> <description> <![CDATA[ Disney's Easter eggs continue to surprise fans. ]]> </description> <guid isPermaLink="false">Rc7CBDSqUkVjiZnHTqMC2o</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/wNRLYuV8NSFX2Sb8jzXr7D.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Mon, 29 Apr 2024 06:00:00 +0000</pubDate> <category><![CDATA[Graphic Design]]></category> <category><![CDATA[Illustration]]></category> <category><![CDATA[Art]]></category> <category><![CDATA[Character design]]></category> <category><![CDATA[Animation]]></category> <category><![CDATA[Disney]]></category> <category><![CDATA[News]]></category> <category><![CDATA[Movies]]></category> <author><![CDATA[ joe.foley@futurenet.com (Joe Foley) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/wNRLYuV8NSFX2Sb8jzXr7D.jpg"> <media:credit><![CDATA[Disney]]></media:credit> <media:text><![CDATA[A screenshot from the Disney movie Tangled]]></media:text> <media:title type="plain"><![CDATA[A screenshot from the Disney movie Tangled]]></media:title> </media:content> </item> <item> <title><![CDATA[ The iconic Kellogg's logo has been turned into a whole nostalgic typeface ]]></title> <dc:content><![CDATA[ <p>The Kellogg's logo is well-known across much of the Western world. Many kids grew up poring over its every stroke and curve during breakfast (OK, maybe that was just me). Now those lines have finally inspired an whole typeface devised from the famous <a data-analytics-id="inline-link" href="https://www.creativebloq.com/inspiration/the-10-best-cursive-logos-of-all-time" target="_blank">script logo</a>.</p><p>For anyone not involved in typography, this might not seem like a massive feat. I mean, 20% of the work was already done, right? But extracting an entire font design from just seven characters isn't an easy task. The Kellogg's logo is instantly recognisable when it says 'Kellogg's'. But designers had to create a typeface that would be just as unmistakable when it says anything at all.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:2794px;"><p class="vanilla-image-block" style="padding-top:66.64%;"><img id="LyUvANKknwq6D7t8YhrQbC" name="" alt="An example of the typeface WK Kellogg Co script" src="https://cdn.mos.cms.futurecdn.net/LyUvANKknwq6D7t8YhrQbC.jpg" mos="" align="middle" fullscreen="" width="2794" height="1862" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">WK Kellogg Co Script is use </span><span class="credit" itemprop="copyrightHolder">(Image credit: WK Kellogg Co script)</span></figcaption></figure><p>The history of the Kellogg's logo is fairly simple. It was initially designed in 1907, based on founder William Kellogg Co’s signature. It was made more stylized in 1916 and cleaned up further in 1955. Other than the colour, it's barely changed since then.</p><p>The idea to now turn that enduring script logo into a typeface followed the separation of the Kellogg Company into two independent public companies: UK-based Kellanova, focusing on cereal, snacks and more for the international market, and North America-focused WK Kellogg Co. The new typeface is for the latter. But how do you expand the limited structures of a logo design into full collection of letters while still preserving its essence?</p><p>The idea came from Harlie Brindak, creative director at <a data-analytics-id="inline-link" href="https://www.brunswickgroup.com/about/" target="_blank">Brunswick</a>, who envisioned a working font based on the company founder’s iconic signature as a tribute to his entrepreneurial spirit. She had been working with <a data-analytics-id="inline-link" href="https://xyztype.com/" target="_blank">XYZ Type</a> on refining the lettering for the WK Kellogg Co logo, so she asked the digital foundry if it could also turn the logo into an entire typeface.</p><div class="instagram-embed"><blockquote class="instagram-media" data-instgrm-captioned data-instgrm-version="6" style="width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><p><a href="https://www.instagram.com/p/C6Ow3PeLNjE/" target="_blank">A post shared by XYZ Type</a></p><p>A photo posted by xyz_type on </p></blockquote></div><p>But that wasn’t as simple as drawing letterforms that looked like the Kellogg's logo. XYZ had to create "a brand-new typeface that’s always existed." It brought in Rodrigo Saiani from <a data-analytics-id="inline-link" href="https://www.plau.design/" target="_blank"><u>Plau </u></a>, a Type Network partner foundry, and began to research the history of Kellogg’s packaging and advertising while also studying lettering and sign-painting manuals from the early 20th century.</p><p>“After hours searching through treasure troves of vintage lettering for clues to the project’s toughest challenges, we put pencil to paper," Rodrigo says. A lot of back and forth followed. The first challenge was to match the capitals to the dramatic Kellogg’s K. Ben Kiel and Jesse Ragan of XYZ chose hand-drawn sketches that matched the feeling of the logo but would be legible as stand-alone letterforms. Then, they had to define a lower case that would maintain that dynamism without being too distracting.</p><p>“We wanted shapes that felt authentic to the era,” Jesse says. “But a contemporary audience would find many of those old-fashioned script structures less than legible. We needed iron-clad clarity.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:2500px;"><p class="vanilla-image-block" style="padding-top:66.68%;"><img id="LD9DTjRZHiERaPZfZdgSoB" name="" alt="An example of the typeface WK Kellogg Co script" src="https://cdn.mos.cms.futurecdn.net/LD9DTjRZHiERaPZfZdgSoB.jpg" mos="" align="middle" fullscreen="" width="2500" height="1667" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: WK Kellogg Co script)</span></figcaption></figure><p>XYZ says that arriving at a steady, highly legible typeface required lots of small decisions. A key solution early on was to reduce the K’s steep incline for a better fit between capitals and lower case. Ensuring the legibility of the I and the J was also particularly challenging, and XYZ says the research into old sign-painting manuals paid off here, inspiring a variety of options that Brunswick Creative then tested in working files.</p><p>It was also decided not to use a cursive structure for the Q, F and T in order to make letters easier to recognise. Meanwhile, special glyphs like the "stair-step ll" and the 'e' with an entry stroke were created to match the spontaneity of the logo.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:2794px;"><p class="vanilla-image-block" style="padding-top:66.64%;"><img id="cs89uUe333WSANqesuPsRC" name="" alt="An example of the typeface WK Kellogg Co script" src="https://cdn.mos.cms.futurecdn.net/cs89uUe333WSANqesuPsRC.jpg" mos="" align="middle" fullscreen="" width="2794" height="1862" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: WK Kellogg Co script)</span></figcaption></figure><p>OpenType contextual alternates allow glyphs to be automatically substituted at the beginning, middle, or end of a word, producing a more natural effect, closer to hand-drawn lettering. However, the idea was to create a typeface for everyday business communication. Since programs such as PowerPoint don't support OpenType features, the default characters had to work well without them.</p><p>You can learn more in the case study at <a data-analytics-id="inline-link" href="https://xyztype.com/custom/project/wk_kellogg_script" target="_blank">XYZ Type</a>. For more logo inspiration, see our pick of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/best-logos">best logos</a> and the history of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/deutsche-bank-logo">Deutsche Bank logo</a>, which has just turned 50 years old.</p> ]]></dc:content> <link>https://www.creativebloq.com/news/kelloggs-font-design</link> <description> <![CDATA[ "A brand-new typeface that’s always existed." ]]> </description> <guid isPermaLink="false">uAEqzde3K8YAgEWCxf4c3G</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/fvex9ok6MJvEcks3HjPTPB.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Mon, 29 Apr 2024 04:00:00 +0000</pubDate> <category><![CDATA[Graphic Design]]></category> <category><![CDATA[logo design]]></category> <category><![CDATA[Logo ]]></category> <category><![CDATA[Logos]]></category> <category><![CDATA[Typography]]></category> <category><![CDATA[font design]]></category> <category><![CDATA[Fonts]]></category> <category><![CDATA[Branding]]></category> <category><![CDATA[News]]></category> <author><![CDATA[ joe.foley@futurenet.com (Joe Foley) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/fvex9ok6MJvEcks3HjPTPB.jpg"> <media:credit><![CDATA[WK Kellogg Co script]]></media:credit> <media:text><![CDATA[An example of the typeface WK Kellogg Co script]]></media:text> <media:title type="plain"><![CDATA[An example of the typeface WK Kellogg Co script]]></media:title> </media:content> </item> <item> <title><![CDATA[ I’ve been waiting for a 3D printer like the Anycubic Kobra 3 Combo ]]></title> <dc:content><![CDATA[ <p>Anycubic has unveiled two new 3D printers, the Photon Mono M7 Pro resin printer, and the one I'm most excited about – the Anycubic Kobra 3 Combo package. This FDM printer comes combined with the all-new Anycubic Color Engine Pro (ACE Pro) attachment, allowing for multicolour printing (and simultaneous filament drying) for the first time ever. Watch out Bambu Lab. </p><p>These new products will no doubt join the ranks of the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/buying-guides/best-3d-printers">best 3D printers</a> on the market, but this announcement is a pretty big deal for a fair few reasons. Anycubic's collaboration with Pantone to create exclusive filament colours is a highlight, as well as the incorporation of new features that should solve some key issues for beginners to 3D printing. </p><p>I've not long had my <a data-analytics-id="inline-link" href="https://www.creativebloq.com/reviews/kobra-2">Anycubic Kobra 2</a> that I purchased back in November, my first-ever 3D printer and (little did I know) gateway into an extremely addictive and fulfilling creative hobby. The Kobra 2 has been a great beginner 3D printer and allowed me to learn a lot, like <a data-analytics-id="inline-link" href="https://www.creativebloq.com/how-to/what-is-a-hueforge">how to make a HueForge print</a> and level up my game room with <a data-analytics-id="inline-link" href="https://www.creativebloq.com/how-to/3d-printed-hexagon-shelves">3D hexagon shelves</a>. With that said, I think I'm ready for something better. And this multicolour printer package from Anycubic has me super-pumped. Here's why. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1080px;"><p class="vanilla-image-block" style="padding-top:56.30%;"><img id="aXC9fK6KcUSSsjdjQWMCWa" name="439412136_770738681820449_391159896125425697_n.jpeg" alt="Anycubic Kobra 3 Combo product launch" src="https://cdn.mos.cms.futurecdn.net/aXC9fK6KcUSSsjdjQWMCWa.jpg" mos="" align="middle" fullscreen="" width="1080" height="608" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Anycubic)</span></figcaption></figure><h3 class="article-body__section" id="section-price-and-availability"><span>Price and availability </span></h3><p>We finally have the details on price and availability, with the <a data-analytics-id="inline-link" href="https://store.anycubic.com/pages/kobra-3-combo-new-launch" target="_blank" rel="nofollow">Kobra 3 Combo package</a> (including the ACE Pro) expected to cost $549 / £549 at launch, although the early bird discounted price is yet to be revealed. Anycubic has confirmed that early bird orders will receive 4 gifts (worth $89) including 1kg of PLA filament, free models, an exclusive camera for monitoring prints, and a mystery box. You just need to place your order between 7 May and 31 May to redeem. </p><p>While the price of the Kobra 3 might not be the most budget-friendly, it certainly offers a lot for your money. If the ACE Pro package doesn't sound like something you want or need, there is the option to purchase the Anycubic Kobra 3 singularly and not as a combo, although we don't have any indication on price for this just yet.</p><p>The Photon Mono M7 Pro resin printer will have a retail price of approximately $669 / £619 – although an early bird <a data-analytics-id="inline-link" href="https://store.anycubic.com/products/photon-mono-m7-pro" target="_blank" rel="nofollow">pre-sale offer live right now</a> brings the price down to $499 / £469 if you pay a $30 deposit before 6 May, and on top of this you can get 4 free gifts worth $99 if you complete your payment between 7 May and 9 May. These gifts are said to include high-speed resin and a limited mystery box. </p><h3 class="article-body__section" id="section-anycubic-kobra-3-combo"><span>Anycubic Kobra 3 Combo</span></h3><p>Let's talk about the Kobra 3. This new printer combined with the ACE Pro is set to be the first product from Anycubic to offer multicolour printing, in a four-colour print system (up to eight spools supported) that looks mighty enough to rival even the impressive Automated Material System (AMS) that you would typically find on premium <a data-analytics-id="inline-link" href="https://bambulab.com/en-gb" target="_blank" rel="nofollow">Bambu Lab printers</a>. </p><p>This opens up more options for creators to experiment with multi-colour printing without having to change their entire workflow and slicer with it. Previously, Bambu printers have been dominating the charge in this area (and these printers aren't cheap!) so it's refreshing that Anycubic is offering some competition, and could hopefully pave the way for other brands like Creality to follow with the Ender series. </p><p>But that's not all. The Anycubic Kobra 3 will be the only 3D printer on the market to combine active filament drying with multi-colour printing capabilities, which is very cool. A lot of people with 3D printers complain about wet filament, a common issue that can lead to problems like stringing, poor layer adhesion, and general print defects – as I experienced during my <a data-analytics-id="inline-link" href="https://www.creativebloq.com/advice/things-they-dont-tell-you-about-3d-printing">first 3 weeks with a 3D printer</a>. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1080px;"><p class="vanilla-image-block" style="padding-top:100.00%;"><img id="BdLb7q67BsT3fZSuiXvjAa" name="432924426_765369755690675_2558426636134814209_n.jpeg" alt="Anycubic Kobra 3 Combo product launch" src="https://cdn.mos.cms.futurecdn.net/BdLb7q67BsT3fZSuiXvjAa.jpg" mos="" align="middle" fullscreen="" width="1080" height="1080" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Anycubic)</span></figcaption></figure><p>Wet filament can be a problem even if your spool has arrived vacuum-sealed from the manufacturer, and is usually solved by storing your filament correctly, or investing in a costly filament dryer to reduce moisture. Thankfully, the Anycubic Kobra 3 has seemingly offered the all-in-one solution to this with the ACE Pro chamber that can dry your filament spools while you print. Amazing!</p><p>The ACE Pro promises to maintain filament dryness using the intelligent side-drying feature, even during extended print sessions, and lasting up to 24 hours. Anycubic has also confirmed that the ACE Pro can support simultaneous printing with two linked boxes, which means it can accommodate up to eight colours at once. I don't know who needs to print that many colours, but it's great to have the option. </p><p>Another interesting feature of the ACE Pro is the added feature of an RFID reader for Anycubic filaments, which will allow it to adapt printing settings based on what’s loaded, as well as track the run-out or consumption per spool. I think the ACE Pro is designed beautifully, and doubles as an excellent storage solution for filament too. </p><p>I'm really excited to (hopefully) try out the ACE Pro and get my hands on this colourful new addition to the Kobra family at some stage. I love the whimsical marketing approach that Anycubic has taken in promoting it too (just see the ad below and you'll know what I mean).</p><div class="youtube-video" data-nosnippet ><div class="video-aspect-box"><iframe data-lazy-priority="low" data-lazy-src="https://www.youtube.com/embed/cvmbOMWaNr8" allowfullscreen></iframe></div></div><h3 class="article-body__section" id="section-pantone-collaboration"><span>Pantone collaboration</span></h3><p>Another first in 3D printing history is Anycubic's clever collaboration with Pantone Color Institute, in the creation of industry-certified consumable Pantone Color filaments: Peach Fuzz, Interstellar Violet, Tropical Turquoise, and Spring Leaf. </p><p>These unique and true-to-life filament colours can offer vibrancy and depth to your prints, with hues that you won't get anywhere else. I've recently been obsessed with printing HueForge paintings, so it would be very interesting to see how these new colours would match up with the existing filament library and what kind of transmission distances they offer. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:2916px;"><p class="vanilla-image-block" style="padding-top:56.24%;"><img id="bpkyYADPEjJuNqLS68mUsa" name="171274634129544900-66166f65_thumbnail.jpeg" alt="Anycubic Kobra 3 Combo product launch" src="https://cdn.mos.cms.futurecdn.net/bpkyYADPEjJuNqLS68mUsa.jpg" mos="" align="middle" fullscreen="" width="2916" height="1640" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Anycubic)</span></figcaption></figure><p>While I love the idea and concept of this collaboration between Anycubic and Pantone, I can't imagine that Pantone-certified filament would be very budget-friendly. These colours are gorgeous and I'm already planning what I'd love to print with them (my own magnetic monstera plant), however, I anticipate a premium price per spool for these colours. I'd hate to feel pressured to make my creations count with these filaments too, should that be the case, and hope to avoid waste as much as possible. </p><h3 class="article-body__section" id="section-new-features-and-upgrades"><span>New features and upgrades</span></h3><p>If I'm planning to upgrade my Anycubic Kobra 2 printer, then the Kobra 3 Combo had better be worth it. I'm loving what I'm hearing so far, but what else does this printer have to offer that makes it a worthy step up? </p><p>For starters, the Kobra 3 boasts a maximum speed of 600 mm/s for single-colour printing (compared with the 250mm/s on the Kobra 2) and has a build volume of 250 x 250 x 260mm for larger-scale prints, which is also a whopping 34% increase compared with its predecessor, although still compact compared to the Kobra 2 Max model with a massive build volume of around 420 x 420 x 500mm. </p><p>The Kobra 3 printer will also feature an intelligent colour change function, allowing filament waste to be kept to a minimum, and anti-tangling protection has been embedded for smooth and hassle-free colour switching. The built-in accelerometer module is said to offer improved print quality by making intelligent adjustments to motion control, the X/Y axis, vibration compensators, and flow control mechanisms, in turn reducing the irritating banding and ringing often found on prints. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1080px;"><p class="vanilla-image-block" style="padding-top:100.00%;"><img id="D7nEFKzLpSb7bP3TVoj7Na" name="435694598_768721135355537_4926680333588711806_n.jpeg" alt="Anycubic Kobra 3 Combo product launch" src="https://cdn.mos.cms.futurecdn.net/D7nEFKzLpSb7bP3TVoj7Na.jpg" mos="" align="middle" fullscreen="" width="1080" height="1080" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Anycubic)</span></figcaption></figure><p>One thing that's not super clear is whether the same hotend is used for the multiple colour extrusion, or if the filament first needs to be retracted or extruded out to carry out the colour change. It would be impressive if the mechanics allowed for double colour to be extruded at once, for experimenting with a blend of hues. Although, this could get ugly pretty fast with muddy colours.</p><p>Anycubic has confirmed that the Kobra 3 will continue to run Kobra OS firmware, with significant upgrades expected, and the Anycubic App and Slicer are proposed to be getting large upgrades as well with improved after-sales service. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:3500px;"><p class="vanilla-image-block" style="padding-top:46.86%;"><img id="ckMc2Sm4t6gUd4DmfaC8ha" name="171136787439727700-660166c2_thumbnail.jpeg" alt="Anycubic Kobra 3 Combo product launch" src="https://cdn.mos.cms.futurecdn.net/ckMc2Sm4t6gUd4DmfaC8ha.jpg" mos="" align="middle" fullscreen="" width="3500" height="1640" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Anycubic)</span></figcaption></figure><p>But the most exciting advancement seems to be the new Anycubic community platform, <a data-analytics-id="inline-link" href="https://www.makeronline.com/" target="_blank">Makeronline</a>, which proposes to help users share their model files, find inspiration, compete in design competitions for prizes (and money), and access key information. I tend to use Printables as my go-to platform, but Makeronline has a pretty user-friendly appeal that I could get used to. </p><p>Well, that's everything I know so far about the impressive Anycubic Kobra 3 Combo, and I guess we'll just have to wait until 7 May for more announcements and preorder links to go live. Will you be buying one of these new models? I've gathered some of the top deals and best prices below on the Anycubic Kobra 2 series, in your region, if you're not fussed about owning the latest model. </p> ]]></dc:content> <link>https://www.creativebloq.com/news/anycubic-kobra-3-preorder</link> <description> <![CDATA[ Anycubic's new 3D printer solves a lot of problems for beginners, and has new exclusive Pantone filament colours. ]]> </description> <guid isPermaLink="false">G2ydYCoDE8NWWBkyLk2sfk</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/pBBCwHDLXDgkuurkLhXU7b.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Sun, 28 Apr 2024 20:00:00 +0000</pubDate> <category><![CDATA[3D printing]]></category> <category><![CDATA[3D modelling]]></category> <category><![CDATA[Print design]]></category> <category><![CDATA[printers]]></category> <category><![CDATA[Resin printing]]></category> <category><![CDATA[Hardware]]></category> <category><![CDATA[eCommerce]]></category> <category><![CDATA[deals]]></category> <category><![CDATA[Opinion]]></category> <category><![CDATA[Design]]></category> <category><![CDATA[design trends]]></category> <category><![CDATA[Product design]]></category> <category><![CDATA[Creativity]]></category> <category><![CDATA[3D]]></category> <author><![CDATA[ beth.nicholls@futurenet.com (Beth Nicholls) ]]></author> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/pBBCwHDLXDgkuurkLhXU7b.jpg"> <media:credit><![CDATA[Anycubic]]></media:credit> <media:text><![CDATA[Anycubic Kobra 3 Combo product launch]]></media:text> <media:title type="plain"><![CDATA[Anycubic Kobra 3 Combo product launch]]></media:title> </media:content> </item> <item> <title><![CDATA[ How to tell a story in an image ]]></title> <dc:content><![CDATA[ <p>While generative AI can produce images with superficial visual appeal, especially to those who haven’t seen much AI art, they tend to fall apart under closer inspection. Elements are assembled almost randomly, and the overall image lacks the meaning, coherence and intention that can only come from a human artist.</p><p>A way artists can fight back against <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/what-ai-means-for-creativity">generative AI</a> is to lean into the things that only a human can do, for example using narrative to capture emotion, and convey something personal about themselves in their work. (Check out our collection of the best <a data-analytics-id="inline-link" href="https://www.creativebloq.com/advice/the-best-software-for-digital-artists">digital art software</a> and <a data-analytics-id="inline-link" href="https://www.creativebloq.com/features/best-drawing-tablet">drawing tablets</a> to optimise your art journey).</p><h2 id="paint-with-words-2">Paint with words</h2><p>Some narratives will work better than others in paintings. Consider situations that feature opposing forces or some form of tension. Senior concept artist Titus Lunter says: “Interesting stories are inherently about conflict.”</p><p>Once you’ve found your conflict, you need to define it in words. Your choice of words is important, because these will be the keywords that you use to build your image. Titus explains keywords “are broadly understood by most people, but mean very different and personal things to everyone”. For example: “While cosy might be under blankets, it also might be by a fire, or on a patio with a nice drink.” These are all literal scenarios that you could paint to evoke a feeling of cosiness. “Understanding that these words mean different things to different people will help you understand your own voice,” Titus adds.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:2440px;"><p class="vanilla-image-block" style="padding-top:73.44%;"><img id="AUv3P4PWm6KeZZUpdnKF5W" name="UNI238.news_feature.titus_lunter409371_MysticForge_SMALL_R02_LEGAL.jpg" alt="Titus Lunter art" src="https://cdn.mos.cms.futurecdn.net/AUv3P4PWm6KeZZUpdnKF5W.jpg" mos="" align="middle" fullscreen="" width="2440" height="1792" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">“Art is a personal thing. And not every piece is meant to be enjoyed by everyone,” says Titus Lunter. </span><span class="credit" itemprop="copyrightHolder">(Image credit: Titus Lunter)</span></figcaption></figure><p>Your unique voice and perspective is what makes your work different to everyone else’s. He says: “In a way, you and your painting are having a dialogue on how to best capture what you want to say and what that means.” This happens in two ways: your choice of what to paint, and how you use elements such as the composition, colour and texture used to paint it.</p><p>“One of the things that gets easily forgotten nowadays is that painting, and thus storytelling, is a deeply personal journey, which comes to be thanks to introspection, exploration, and creating a bunch of terrible paintings,” Titus explains. “The end result is a reflection of the journey you’ve gone on to try and define these keywords in a way that fits you best as a painter.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1363px;"><p class="vanilla-image-block" style="padding-top:77.77%;"><img id="wBZVBa4w298dh2aSFDWTFc" name="UNI238.news_feature.titus_lunterLateAfternoonTower_SMALL.jpg" alt="Titus Lunter art" src="https://cdn.mos.cms.futurecdn.net/wBZVBa4w298dh2aSFDWTFc.jpg" mos="" align="middle" fullscreen="" width="1363" height="1060" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Titus says: “I wanted to show the viewer a very alien structure but in a casual, familiar way.” </span><span class="credit" itemprop="copyrightHolder">(Image credit: Titus Lunter)</span></figcaption></figure><p>Some of the best stories you can work with are those that are familiar to people, such as folklore and ancient mythology, because a fresh take on something people think they already know about is usually compelling. These types of stories are often told through the language of symbolism.</p><p>Similar to Titus’s use of keywords, he adds that “symbolism walks a tightrope between being deeply personal and universally understood. The biggest mistake people make is to be too literal and put all their eggs into one basket by trying to tell the entire story through just one of the fundamentals, like the drawing, or the colour, and so on. But the trick with using symbolism is to pick which part of the story you want to lay on thick, and which you simply allow the viewer to arrive at themselves.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1280px;"><p class="vanilla-image-block" style="padding-top:73.44%;"><img id="wCPUvSJqjarhxik3oAUPpk" name="UNI238.news_feature.titus_lunter409292_castle_lockthwain_SMALL_LEGAL.jpg" alt="Titus Lunter art" src="https://cdn.mos.cms.futurecdn.net/wCPUvSJqjarhxik3oAUPpk.jpg" mos="" align="middle" fullscreen="" width="1280" height="940" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">“Don’t be afraid to seek out that depth, and go hard on adding all sorts of meaning to your work,” says Titus. </span><span class="credit" itemprop="copyrightHolder">(Image credit: Titus Lunter)</span></figcaption></figure><h2 id="use-your-experiences-2">Use your experiences</h2><p>An artist whose narrative-heavy body of work is largely based around creating retellings of traditional stories is Amanda “A.J.” Ramsey. Her way of going on the journey that Titus describes is to first lay out the scene that will convey the familiar story to an audience, and then “think about my own personal experiences, and how they relate to the story I want to tell”.</p><p>In one of her paintings, which is based on the Ancient Greek Homeric Hymn to Demeter, Amanda added roses and twisting tree branches to the background. She explains: “They give me a feeling of youthfulness, nostalgia, and a sense of mystery that’s entirely personal to me.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1500px;"><p class="vanilla-image-block" style="padding-top:138.00%;"><img id="kAeNQxkJuXGH4aFEgRSzTA" name="UNI238.news_feature.ajramsey_Autumnwitch.jpg" alt="A J Ramsey art" src="https://cdn.mos.cms.futurecdn.net/kAeNQxkJuXGH4aFEgRSzTA.jpg" mos="" align="middle" fullscreen="" width="1500" height="2070" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">“Most of my inspiration comes from older stories and the sense of wonder and mystery they hold, but also the relation they have to human nature,” says Amanda Ramsey. </span><span class="credit" itemprop="copyrightHolder">(Image credit: A J Ramsey)</span></figcaption></figure><p>She also added blackberry bushes because they are something from her life, and because they have symbolic meanings relevant to the story. This is a key technique for Amanda; to use elements that are deeply personal to her but also have universal meanings for others to perceive. </p><p>She offers a word of warning for those who put a lot of themselves into their art: “Be prepared for nobody to understand your artwork,” she says. “Don’t be upset; they’re just reflecting their own experience and knowledge of the story you’re trying to tell.”</p><p>Folklore and traditional stories are often culturally significant and held up as almost sacred by some. Amanda is sensitive to this. “I try so hard to do it justice,” she says. “I research a lot before committing to a piece. I’ve denied creating paintings because I didn’t know enough and was worried I would disrespect it.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1500px;"><p class="vanilla-image-block" style="padding-top:141.67%;"><img id="oTUXZsUxF4n3tpAYqurT7K" name="UNI238.news_feature.ajramsey_Changeoftheseasons.jpg" alt="A J Ramsey art" src="https://cdn.mos.cms.futurecdn.net/oTUXZsUxF4n3tpAYqurT7K.jpg" mos="" align="middle" fullscreen="" width="1500" height="2125" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">“I incorporated imagery from the original story – the pomegranate, key, and narcissus – and have a bident and the symbol of Hades both hidden on the clothes,” Amanda says of The Change of the Seasons. </span><span class="credit" itemprop="copyrightHolder">(Image credit: A J Ramsey)</span></figcaption></figure><h2 id="show-your-respect-2">Show your respect</h2><p>Another artist who draws inspiration from mythology and folklore, Kim Myatt agrees that sometimes there is a responsibility for artists to be respectful towards the original work.</p><p>“On the one hand I believe all artists should be free to represent whatever inspires them in whatever way they want. But on the other hand, if it’s released on the internet especially, people will take the artist’s rendition as gospel and consider it ‘canon’. This can be bad when folklore taken from a specific culture is attached.”</p><p>Kim has first-hand experience, having seen this happen to elements from her own culture. She reflects: “Although it’s nice to have something recognised, it’s annoying to see things added that weren’t there originally, especially when the original folklore it’s drawing from has been crushed by colonialism and needs preservation.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:870px;"><p class="vanilla-image-block" style="padding-top:160.00%;"><img id="FuJDFDpodZJKWDWDENEZLa" name="UNI238.news_feature.Kim_Myatt_Ghost_of_InfluenceHIGHRES_Kim_Myatt.jpg" alt="Kim Myatt art" src="https://cdn.mos.cms.futurecdn.net/FuJDFDpodZJKWDWDENEZLa.jpg" mos="" align="middle" fullscreen="" width="870" height="1392" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">“Adult life is all about getting disentangled from the influencesof other people, and forming ourselves in our own image,” says Kim Myatt. </span><span class="credit" itemprop="copyrightHolder">(Image credit: Kim Myatt)</span></figcaption></figure><p>Kim’s images tell deeply personal stories about her own life, and she uses her art as a source of comfort. One of her paintings depicts a woman laying beneath her duvet, mingled with autumn leaves. It’s about going through a difficult time, “wanting to escape into a dream and wake up when the stress is over,” she says.</p><p>In another, we see a boy being manipulated by disembodied hands that represent the influence of other people’s opinions. Of the piece, she explains: “I wanted to express the idea of how words from your past can push and pull you in directions you might not want to go.” </p><p>Kim points out that your use of symbology is going to land differently with every viewer. “Something that makes me cringe might be cool to someone else,” she says, before also explaining that she thinks similarly to Amanda. “I find it helpful to develop your own understanding of motifs and symbols – what do these things mean for you – and mix that into the use of more universal symbolism.”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1171px;"><p class="vanilla-image-block" style="padding-top:148.68%;"><img id="Q2AUjJccqTZtMqLFALofKm" name="UNI238.news_feature.Kim_Myatt_A_Quiet_Place_Kim_MyattHIGHRES_NIGHTSHADEGLAZE.jpg" alt="Kim Myatt art" src="https://cdn.mos.cms.futurecdn.net/Q2AUjJccqTZtMqLFALofKm.jpg" mos="" align="middle" fullscreen="" width="1171" height="1741" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Of her painting A Quiet Place, Kim says: “I wanted to show the relief and feeling of safety and comfort that comes with escaping into a quiet place.” </span><span class="credit" itemprop="copyrightHolder">(Image credit: Kim Myatt)</span></figcaption></figure><h2 id="use-simple-symbolism-2">Use simple symbolism</h2><p>In her work as a freelance illustrator, Eleonor Piteira creates images for book covers and trading card games that convey a specific narrative. Her advice is to simplify your idea, as it’s easy for your point to get lost if you use too many symbolic elements. “Choose just one element for the focal point, and build your illustration to serve the purpose of bringing attention to that,” she says.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:768px;"><p class="vanilla-image-block" style="padding-top:130.21%;"><img id="P9kaW5YTvRyvvq83xPxyz9" name="UNI238.news_feature.EleonorPiteira_SecretKeeper_Feb2021.jpg" alt="Eleanor Piteira art" src="https://cdn.mos.cms.futurecdn.net/P9kaW5YTvRyvvq83xPxyz9.jpg" mos="" align="middle" fullscreen="" width="768" height="1000" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Eleonor Piteira made Secret Keeper as part of the 2021 Month of Love, a challenge with the prompt ‘silence’. </span><span class="credit" itemprop="copyrightHolder">(Image credit: Eleanor Piteira)</span></figcaption></figure><p>“You’ll want to make sure the most important elements in the illustration are readable. You want people to look at your illustration and understand what they’re seeing, so you can hook them into looking at your work with more attention.”</p><p>If there are secondary elements that are key to your story, you can draw<br>up a hierarchical list and give them an appropriate level of prominence within your image. “It’s all about being intentional with your choices,” she says. “But not everything needs to have a reason to be there, sometimes it might just be because you like it. The cool factor should not be ignored, so have fun with the process!”</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:647px;"><p class="vanilla-image-block" style="padding-top:154.56%;"><img id="5yqHAvb2LAeyRdXi7cY3LF" name="UNI238.news_feature.EleonorPiteira_WhenAmongCrows_2023.jpg" alt="Eleanor Piteira art" src="https://cdn.mos.cms.futurecdn.net/5yqHAvb2LAeyRdXi7cY3LF.jpg" mos="" align="middle" fullscreen="" width="647" height="1000" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">The cover of Veronica Roth’s novella When Among Crows. “Though seemingly simple, each element has underlying meaning,” says Eleonor. </span><span class="credit" itemprop="copyrightHolder">(Image credit: Eleanor Piteira)</span></figcaption></figure><p><em>This content originally appeared in ImagineFX magazine, the world's leading digital art and fantasy art magazine. ImagineFX is on sale in the UK, Europe, United States, Canada, Australia and more. Limited numbers of ImagineFX print editions are available for delivery from our </em><a data-analytics-id="inline-link" href="https://www.awin1.com/awclick.php?awinmid=2961&awinaffid=103504&clickref=cbq-gb-1131785782115045914&p=https%3A%2F%2Fwww.magazinesdirect.com%2Faz-single-issues%2F6937004%2Fimaginefx-magazine-single-issue.thtml" target="_blank"><em>online store</em></a><em> (the shipping costs are included in all prices).</em></p> ]]></dc:content> <link>https://www.creativebloq.com/how-to/tell-a-story-in-an-image</link> <description> <![CDATA[ Four artists discuss using visual elements to imbue their work with personal and universal human stories. ]]> </description> <guid isPermaLink="false">Bc8Uc867TKiMUm8Cg9LJM</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/QECdHzYrdy9edKq4a4f6Gc.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Sun, 28 Apr 2024 15:00:00 +0000</pubDate> <category><![CDATA[magcontent]]></category> <category><![CDATA[Art]]></category> <category><![CDATA[Digital Art]]></category> <category><![CDATA[drawing]]></category> <category><![CDATA[Illustration]]></category> <category><![CDATA[Creativity]]></category> <category><![CDATA[Inspiration]]></category> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/QECdHzYrdy9edKq4a4f6Gc.jpg"> <media:credit><![CDATA[Kim Myatt]]></media:credit> <media:text><![CDATA[Kim Myatt art]]></media:text> <media:title type="plain"><![CDATA[Kim Myatt art]]></media:title> </media:content> </item> <item> <title><![CDATA[ This Michael Jackson logo design dispute is getting bad ]]></title> <dc:content><![CDATA[ <p>The Michael Jackson Estate is the centre of a logo dispute between the tribute concert MJ Live and the Broadway production MJ: The Musical (yes, these are two separate Michael Jackson-related shows). According to the MJ: The Musical team, the MJ Live logo could potentially confuse fans – but it turns out the debacle isn't as black or white as it seems. </p><p>When you <a data-analytics-id="inline-link" href="https://www.creativebloq.com/graphic-design/pro-guide-logo-design-21221">design a logo</a>, it's best to scope out the competition and carve out an identity that stands out against the crowd. In the case of MJ (the musical) and MJ Live, it appears that this wasn't the case. With a 12-year Vegas legacy, MJ Live claims that MJ: The Musical is infringing on its identity, but with the estate backing the newer Broadway production, it's unclear who will have to beat it. </p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:1920px;"><p class="vanilla-image-block" style="padding-top:56.25%;"><img id="4j9skfM8YNYQYj6rsxJ7NS" name="MJMusical.jpg" alt="MJ the musical logo outside of theatre" src="https://cdn.mos.cms.futurecdn.net/4j9skfM8YNYQYj6rsxJ7NS.jpg" mos="" align="middle" fullscreen="" width="1920" height="1080" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">MJ Live logo (left) and MJ The Musical logo (right). </span><span class="credit" itemprop="copyrightHolder">(Image credit: Dia Dipasupil via Getty Images)</span></figcaption></figure><p>Issues first cropped up when a trademark was filed in 2019 from a company affiliated with the Michael Jackson Estate. The request was to use the "MJ" wordmark to advertise performances for what was to become MJ: The Musical – the problem was that MJ Live had already been doing this for the past seven years. Despite this, MJ: The Musical launched in 2022 with the controversially similar logo featured across its identity. </p><p>Since then, an official <a data-analytics-id="inline-link" href="https://www.courthousenews.com/wp-content/uploads/2024/01/mjl-12-llc-v-mjj-productions-llc-etc.pdf" target="_blank">court document</a> shows that MJ Live has sued MJ: The Musical over the logo design. It states that MJ: The Musical has been continuously sending cease and desist letters to the MJ Live venues and "demanding that each of the shows be cancelled." The "confusingly similar" design of the MJ: The Musical logo is accused of appearing "to borrow the font and “distressed” appearance" of the MJ Live logo, which existed long before the MJ: The Musical design.</p><figure class="van-image-figure inline-layout" data-bordeaux-image-check ><div class='image-full-width-wrapper'><div class='image-widthsetter' style="max-width:5000px;"><p class="vanilla-image-block" style="padding-top:65.10%;"><img id="KafafAD2EzknSz5GNQp4C" name="GettyImages-2110564831.jpg" alt="MJ: The Musical performance" src="https://cdn.mos.cms.futurecdn.net/KafafAD2EzknSz5GNQp4C.jpg" mos="" align="middle" fullscreen="" width="5000" height="3255" attribution="" endorsement="" class=""></p></div></div><figcaption itemprop="caption description" class=" inline-layout"><span class="caption-text">Despite being created after MJ Live, MJ: The Musical has requested for Live shows to be cancelled. </span><span class="credit" itemprop="copyrightHolder">(Image credit: Dave Benett via Getty Images)</span></figcaption></figure><p>The legal debacle continues in court with no definitive resolution yet, but MJ Live contests that it maintains "protectable common law rights in its MJ Live mark." For more logo controversy, check out <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/national-park-logo-dispute">this Baseball team's logo design dispute</a> or take a look at why the <a data-analytics-id="inline-link" href="https://www.creativebloq.com/news/saturday-night-live-avatar-logo-papyrus-2">Avatar logo design</a> is still traumatising Ryan Gosling.</p> ]]></dc:content> <link>https://www.creativebloq.com/news/michael-jackson-logo-dispute</link> <description> <![CDATA[ Which side will have to beat it? ]]> </description> <guid isPermaLink="false">AUqi4hURxwYSmaMowYiSjK</guid> <enclosure url="https://cdn.mos.cms.futurecdn.net/8fViFP9smmuJRFgcsnyZqf.jpg" type="image/jpeg" length="0"></enclosure> <pubDate>Sun, 28 Apr 2024 12:00:00 +0000</pubDate> <category><![CDATA[News]]></category> <category><![CDATA[Logo ]]></category> <category><![CDATA[Logos]]></category> <category><![CDATA[Design]]></category> <category><![CDATA[Graphic Design]]></category> <category><![CDATA[Branding]]></category> <category><![CDATA[logo design]]></category> <media:content type="image/jpeg" url="https://cdn.mos.cms.futurecdn.net/8fViFP9smmuJRFgcsnyZqf.jpg"> <media:credit><![CDATA[MJ Live/MJ: The Musical]]></media:credit> <media:text><![CDATA[MJ Live and MJ musical logos]]></media:text> <media:title type="plain"><![CDATA[MJ Live and MJ musical logos]]></media:title> </media:content> </item> </channel></rss>If you would like to create a banner that links to this page (i.e. this validation result), do the following:
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