Digital art – famous graphic designers, graphic design portfolio

chatGPT

What is ChatGPG good for

ChatGPT is a language model that can generate natural language text. It is good for a wide range of tasks, such as language translation, text summarization, question answering, and text completion. It can also be used to generate creative writing and to power chatbots and virtual assistants.

How can i write code in ChatGPT

ChatGPT is a language model and it is not designed for writing code. However, there are ways to generate code using GPT-based models. One way is to fine-tune a pre-trained GPT model on a dataset of code snippets. This allows the model to learn the structure and syntax of code, and can then generate new code snippets based on the patterns it has learned. Another way is to use a specialized tool like OpenAI’s GPT-3 based “Code-GPT” which is fine-tuned on code snippets and can generate code in multiple programming languages such as Python, Java, C++ etc.

What AI app is good for landing pages

There are several AI-powered tools that can be used to create landing pages. A few examples include:

  1. Wix ADI (Artificial Design Intelligence) – This tool uses AI to create personalized landing pages based on user input and preferences.
  2. The Grid – This platform uses AI to design and optimize landing pages for conversions.
  3. Instapage – This tool uses AI to create personalized landing pages and optimize them for conversions.
  4. Leadpages – This platform offers AI-powered optimization and personalization features for landing pages.
  5. Unbounce – This tool offers a platform for creating and optimizing landing pages with AI-powered features like dynamic text replacement and personalized content.
  6. Carrd for making free landing pages

  7. ConvertKit for driving email newsletter signups

  8. Unbounce for small businesses with a budget

  9. Swipe Pages for mobile-first landing pages

  10. Leadpages for selling products on a landing page

These are just a few examples, and many other companies are also developing AI-based solutions for landing pages. It’s always a good idea to test and compare different solutions to find the best one for your specific needs and goals.

Best AI apps for drawing

There are several AI-powered drawing tools that you can use, some examples include:

  1. Adobe Fresco – This is a digital drawing and painting app that uses AI to create realistic brushes, such as watercolor and oil paint brushes, to give a more natural drawing experience.
  2. Autodraw – This is a web-based tool that uses AI to turn your rough sketches into polished drawings.
  3. DeepArt – This is a website that uses AI to turn your photos into artistic styles of famous painters.
  4. Ostagram – This is a website that uses AI to transfer the style of one image to another.
  5. Pikazoapp – This is an app that uses AI to turn your photos into abstract artworks, in a variety of styles.

These are just a few examples, and many other companies are also developing AI-based solutions for drawing and painting. Some of these apps are free and some are paid, it depends on the features and capabilities that you need.

Best Voice Over APPs

There are many voice over apps available, and the best one for you will depend on your specific needs and preferences. Some popular voice over apps include:

  1. Adobe Audition – This is a professional audio editing software that is widely used for voice over work and other audio production tasks.
  2. GarageBand – This is a free app for iOS that is popular for creating music and recording voiceovers.
  3. Audacity – This is a free and open-source audio editing software that is popular for voice over work and other audio production tasks.
  4. Avid Pro Tools – This is a professional audio editing software that is used by many audio engineers, voiceover artists and podcasters.
  5. Voice Record Pro – This is a simple, easy-to-use app that is popular for recording voiceovers on mobile devices.

These are just a few examples, and there are many other voice over apps available, some of them are free and some are paid. It’s always a good idea to test and compare different solutions to find the best one for your specific needs and goals.

cow

Art of Cristian Girotto – Social Animals

Paris-based talented digital artist Cristian Girotto has created a digital character design series called “Social Animals”, showcasing animals taking selfies. He describes his new humorous series as “Social networks are a zoo made by extrovert beasts taking selfies“.

David Ope digital art

davidope (David Szakaly) is a Hungarian/German graphic designer, living with his dachshund in a suburb of Budapest.

dvdp is the creative director and founder of the design atelier volll and Fredlig.
dvdp was raised in love – bilingual and bicultural (DE/HU), which explains a lot.
dvdp is living in a suburb of Budapest, with his dachshund Susie.
dvdp loves the danger: 2 liters of coke and 40 camels a day.

Visit his visual chinatown – inspiring stuff form around the globe and some own crap too.

http://www.davidope.com/

This series is exclusive to I Want You.

Andrey SHCH

Interview with artist
Tell us a little bit about your background?
To begin with, I’ve been drawing all my life. I draw the way I want to and the way I feel. Read more

Jean-Sebastien Rossbach

“French artist Jean-Sebastien ROSSBACH blends a classic painter’s sensibility with cutting edge technology. When not working on Merlin or creating covers for Marvel Comics, he teaches art to hopefuls at various workshops.” – Spectrum 17.

J.S. is the co-author of MERLIN, an ambitious 116 pages fully illustrated artbook about the legendary wizard published by Soleil editions.

BOOKS AND COVERS: Marvel (US) | DC Comics | Top Cow (US) | Warner Home Video | Tor Books (US) Ballistic Publishing (Au) | EMAP (Fr) | Soleil (Fr) | Gallimard (Fr) | Pocket (Fr) | Flammarion (Fr) | Fleuve Noir (Fr) | J’ai Lu (Fr) | Le Belial (Fr) …

RPG & BOARD GAMES: Blizzard (US) | Wizards of the Coast (Us) | White Wolf ltd.(Us) | Wizkids (Us) | Asmodée (Fr) | Rackham (Fr) | éditions du Matagot (Fr) | Sigh Press (Ger) …

MOVIES: Blur Studios …

VIDEO GAMES: Ubisoft (Fr) | Magic Lab (Fr) …

RECORD LABELS: EMI music (Fr) Earache Records (Uk) | Horch (Ger) | RagingPlanet (Pt) …

PRESS: ImagineFX (UK) | InQuest (Us) | Art Scene (Ger) | Science & Vie Junior (Fr) | Elegy (Fr) | Casus Belli (Fr) | DP World (Cn) | Art Photo Akt (Ger) WebEsteem (Pl) | New Web Pick (Cn) …

ADVERTISING: Atletico International (Sp) | SEAT (Sp)

livingrope@hotmail.com

Free image stock websites

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  22. Public Domain Photos.
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  25. Kave Wall

Using designer

How to (and not to) work with a designer

from Will Harris

Imagine that you’re Christopher Columbus. You arrive in the New World and are so disappointed there are none of the oriental silks and spices you came looking for that you turn around and go home, missing all the wonders of the New World.

That’s what happens when you have preconceived notions about design. You can end up with something that’s better, but NOT see or appreciate it because you’re only focusing on the fact that it’s not what had in mind.

Remember you are a vital part of the design process. If you aren’t a good client, then you can’t expect good results.

Preconceived notions are just one of the mistakes people make when they work with a designer. A good designer’s work will make something:

  • Work better
  • Sell better
  • Shed new light on old subjects
  • Look better

The trouble is, a lot of people hire designers because they want their site to “look good.” But that’s just scratching the surface of what a designer can and should do. So they don’t know what’s possible, so they don’t get the most bang for their buck.

Just as writers are not just people who can type, designers are not just people who can use graphics programs. Good Design is more than skin deep.

Design is communication.

The way to inspire a designer is to give them the message and feeling you want to convey, and the freedom to convey it in a fresh, new way.

So how do you work with a designer to get their best work? Here are some suggestions:

    1) Choose your designer carefully. Look at their previous work. The best designers don’t have a “signature look.” Their sites look as different as their clients do. Awards don’t necessarily mean the design worked for the client. If you’re not sure about a design, go to sites they designed and ask their clients.

    2) Leave your preconceived notions at the door. Don’t ask for a site like someone else’s but in a different color. Be open to new, unexpected ideas. Don’t be afraid of something different. Let new ideas sink in.

    3) Tell your designer what you want to say rather than how you want it to look. Don’t ask for a color, shape, or style–ask for meaning or emotion.

    4) Be clear about specific features you need. You want your designer to create a design specific to your needs. If you try to add features as you go along, the design won’t fit as well.

    5) Do your research and be specific about your needs. “I need to sell meeting planners on the idea of hiring me to plan entertainment for their events.” That’s clear and specific about both the product and the audience. The more detailed and specific you are at the start, the better the designer can tailor the site to your needs. If you add requirements later on, the designer will probably just have to shoe-horn them in, which won’t give you the best results.

    6) Make sure your message and content are clear. The more of your content you have complete, the better the designer can build your site around it. A good designer may make suggestions to refine your content to get your message across faster or more clearly, but the more content you have complete, the more the designer will have to work with.

    7) Design for your customer, not yourself, your friends or your colleagues. Be specific so your designer knows who your customers are and what they want. It’s more important that they like your site than that you like it. Always remember, “What’s in it for them.”

    If the design pleases your customers, they’ll please you. If you insist on a design that only pleases you, then your customers may not be inspired to buy your product or service and in the end you will lose.

    8) Have good reasons for your preferences. You can show the designer sites that appeal to you, but dig deeper and figure out why they speak to you. Think in terms of feelings.

    Design makes you feel, so tell your designer how it makes you feel. Instead of saying, “I like yellow,” get to the root of it and say “I want a site that feels warm,” or “I want something upbeat and friendly.” Focusing on your logical or emotional impressions give the designer more to work with. Why? Because your customers may not “like” the same things you do, but a good designer can convey the impression you want them to have.

    9) Don’t design by committee. No good design was ever created by a consensus. The more people who have a voice in the process, the more watered down the results will be. Your friends and coworkers will often give you conflicting advice and people often have ulterior motives when they give you comments (they may be jealous or threatened if you get something that’s too good, or they may just be ignorant). You can show it to a few trusted people and get their comments, but there can only be one person making decisions. Don’t be wishy washy and try to change direction late in the process.

    10) Don’t tell your designer how to design. That’s not your area of expertise. Give a designer your requirements and preferences, but also the freedom to create something that answers them as effectively as possible. If you micromanage a designer, they won’t be motivated to do anything but cash your check.

    11) You can’t please all the people all the time. Bill Cosby said “The only sure way to failure is to try to please everybody.” If everyone thinks your site is “OK” then it’s probably too dull to get much of a reaction from anyone. If you design a site with NO personality no one will hate it. Or love it.

    12) Trust your designer (you are paying for their expertise).

Then when they start to show you “comps” (design versions), give them specific comments.

Don’t just say, “I don’t like brown.” That says nothing of real value. If you say “I’m concerned that the color looks sickly and we need something that conveys growth,” then you are giving the designer useful information, because you’re talking about content rather than telling them how to design.

Your designer should know more than you do about design and its implications, both emotional and cultural. So if you ask for a color and the designer explains why it isn’t a good idea, believe them. Don’t ask for a color, shape, or style–ask for meaning or emotion.

Yes, designers can make mistakes and take wrong directions. And yes, you need to give them direction. But you must tell them what you need, not how to achieve that goal.

The reason that so many great discoveries have been accidents is because when you set out with a destination in mind then end up someplace else you feel you’ve missed the mark and gotten lost.

The reality is different—you may have ended up someplace different—but better. Yet if you’re only viewing things in terms of “this is where I wanted to go and I’m not there,” you will be disappointed, even with something better.

So when working with a designer you need to step back and ask yourself if you’re just being Columbus, missing the wonders of the new world.

Art of Philip Straub

2-phil_straubBallistic Publishing and Philip Straub take the fantasy graphic novel to the next level with their latest release, Utherworlds.

Utherworlds combines a fantasy novel with written and spoken languages, maps, and stunning paintings in a large format that shows Phil Straub’s artwork like never before.

Website:

Skins:

About Phil Straub

As an Art Director, Philip Straub has worked with some of the biggest names in the gaming industry including: Vivendi Universal; Electronic Arts; NCSoft; and Big Fish Games. Philip’s work has appeared in over 30 childrens’ books, and he has co-authored three digital art tutorial books including d’artiste Digital Painting.

In the entertainment industry he has worked with many clients including: Mattel; Fisher Price; Disney; Universal Studios; Warner Bros; DC Comics; and Knowledge Adventure.

He also teaches an annual online Concept Art class to students around the globe. Philip is a founding member of The CGSociety and regularly contributes to the illustration and digital art communities by judging illustration competitions including: The Society of Illustrators; PAINTER; EXPOSÉ; and CG Challenges hosted by The CGSociety.

Philip’s licensed designs appear on a variety of products including: books; games; wall murals; scrap-booking; gifts; stationery; apparel; and textiles. As a freelance illustrator his work has appeared on: broadcast media; book jackets; CD and magazine covers; trading cards; feature films; and advertising campaigns.

Rich illustrated books:

Industry insiders’ advice on how to secure a job in the current economic climate

  • Obfuscation. I like this word for two reasons. First, more than is the case for many words, it needs to be spelt properly. Clear communication. Attention to detail. Second, its existence is almost an oxymoron. Nobody expects you to be a one-person design machine – evidence of teamwork is good. Many CVs I receive are as convincing (and illuminating) as that wonderful combo of alcohol and breath fresheners. Oh yes, and know your design history. I once interviewed someone who explained that they’d gone for a ‘Punky feel’, but couldn’t tell me why, or what Punk was about. Not good.
    Ian Allison, Creative director, Bell Design
  • The main issue with the number of design candidates applying for each design vacancy is one of quality. As the grip tightens on our industry the demand for excellence will be paramount. The jobs available will be given to the top idea-generators who can immediately have an impact on your clients’ business. Clearly, there are more designers out there looking because of the economic climate, especially freelances who want to secure fixed-term contracts. But, regardless of the downturn, it’s the same old story – there will always be work for great people.
    Glenn Tutssel, Executive creative director, The Brand Union
  • We all respond well to the unusual. Beyond proven experience, I look for personality, inventiveness and even a touch of humour. Good recent examples include someone pretending to write to us from his prison cell and a young creative introducing herself with a rejection letter to us. Nice twist. Mature candidates have to be knowing, friendly and confident, turning contact into conversation. Juniors should be inventive, honest and grounded. Gut reaction still cuts HR techniques, and a more relaxed approach to trial periods benefits both parties.
    It’s a good time to play with casual relationships while yearning for a happy marriage.
    Tim Elliott, Creative director, Jack Morton Worldwide
  • Finding work in the creative industries always requires determination, and it’s important not to be overwhelmed. Stay practical – not everyone will be maximising their chances, so make sure you maximise yours. There are fewer jobs and more competition.
    Simple maths says you need to apply more, spread the net wider. Job mobility and recruitment often rely on your address book. In a recession many of your contacts will move around more. Establish connections with people outside of their office so you don’t lose them (but not by stalking on Facebook). Be flexible and persevere. Recessions end.
    Laura Woodroffe, Education and professional development director, D&AD
  • At entry level, every design group needs fresh blood. The design industry thrives on new and different ways of thinking, especially in the digital age. [As a junior designer], your energy and enthusiasm should motivate and inspire everyone around you. That’s why you can offer value for money, even in these difficult times. At senior levels, all consultancies are looking to cut costs. Try to demonstrate that you will bring a level of creativity and experience. That will mean cracking the brief quicker, with fabulous, technically achievable design.
    Mano Manoharan, Joint managing director, LFH
  • There are still chances during the credit crunch. For the senior, it’s freelance work. It’s not unusual for those who have been made redundant to end up in the same jobs on a freelance basis, earning more. It’s ‘human recycling’. Target the types of organisations you’re used to. If you’re young, get in there with an amazing CV: a nice, simple, leave-behind idea. Target those you really want to work for, read up on the groups before you turn up and don’t give up on those who are making cuts – they will be recruiting again. And quit smoking and start cycling. You’ll feel less stressed. And it makes you really happy.
    Marksteen Adamson, Founding partner, Arthur Steen Horne AdamsonKey trends

    • Salary takes priority over non-salary benefits
    • In demand/ Digital, brand identity, packaging and fmcg, TV and graphics, client services, new business developers and corporate communications
    • Going down: Print specialists, corporate branding, retail interiors, graduates (designers and account handlers), and account executives
    • Freelance rates are already coming down, and recruiters are predicting further drops in rates of up to 20%. But freelances might lead the vanguard of recovery
    • Permanent salaries are expected to remain frozen over the next 12 months
     DOWNLOAD THE SALARIES PDF HERE

    Design Week Magazine