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Celebrating Valentine's Day with a simple animation in Figma: a radar that spots love around abduzeedo0212—23 Valentine's Day is a time to celebrate love and remind us that it is all around us. This year, instead of buying generic gifts, why not create a personalized and unique one for your loved ones? If you're a designer or looking to get into design, Figma is a great tool to help you create a special animation to celebrate the day of love. In this blog post, we'll show you how to create a simple animation in Figma, using gradients to recreate a radar that spots a heart. Step 1: Create the Radar Base To start, create a new Figma file and draw a circular shape to serve as the base for our radar. Then, add a second circle inside the first one and fill it with a gradient. This gradient should go from light to dark, representing the signal strength of the radar. Step 2 Create a ring by subtracting 2 circles from the base one. The add some shadows to...
over a year ago

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More from abdz.do - Have you given up on being inspired?

Pràctica Redesigns 9+ Wine brand identity and packaging design

Pràctica Redesigns 9+ Wine brand identity and packaging design abduzeedo0511—23 Barcelona-based design studio Pràctica has unveiled a new label design for 9+ wines, a natural wine producer based in Catalonia, Spain. The new labels feature a bold, graphic design that is both eye-catching and informative creating a beautiful packaging design. The 9+ winery is unique in that it is the only winery in Catalonia, and perhaps in the world, whose name is a number, not a word. This presented a challenge for Pràctica, as they needed to create a label design that would be both memorable and easy to understand. The solution was to use a simple, yet effective, naming and graphic system. Each label features the number 9+, followed by the name of the wine and the grape variety. The background of each label is a different color, which helps to visually differentiate the different wines. This project presented the challenge of designing 15 labels, all under a global image but with different families: Base, Selection, and Sparkling. This need led us to create a naming and graphic system that orders and enumerates the wine bottles, not only to rationalize the wide range of products, but to strengthen the winery’s identity as well as to make it stand out from the natural wine sector. Here are some of the key features of the new 9+ labels and packaging design: Bold, graphic design that is both eye-catching and informative Simple, yet effective, naming and graphic system Different background colors for each wine to help visually differentiate the different wines Clean, modern website design that is easy to navigate Information about the winery, the wines, and the winemaking process The new 9+ labels are a significant improvement over the previous designs. They have helped to make 9+ wines more visible and accessible to consumers, and they have helped to strengthen the winery's identity. Packaging design artifacts Credits Printed at Chalaguier Photographed by Enric Badrinas Fonts in use: FK Screamer by Florian Karsten & GT Alpina by Grilli Type For more information make sure to check out Pràctica website.

a year ago 99 votes
Custom Font made of shapes and patterns for John Lewis (UK)

Custom Font made of shapes and patterns for John Lewis (UK) AoiroStudio0510—23 In the world of graphic design, there are few studios as talented and innovative as Hola Bosque™. Based in the vibrant city of Buenos Aires, Argentina, this creative powerhouse has been making waves with their exceptional design work. One of their recent collaborations was with John Lewis UK, where they brought their unique touch to the creation of a custom font and special shapes and patterns for the new Kidswear campaign. John Lewis UK is renowned for its high-quality products and commitment to exceptional design. When they sought a partner to elevate their Kidswear campaign to new heights, they turned to Hola Bosque™ for their expertise. And the result was nothing short of remarkable. The team at Hola Bosque™ embarked on the project with a clear vision in mind - to create a visual language that would capture the imagination of young audiences while staying true to the brand's identity. They knew that typography would play a crucial role in conveying the campaign's message effectively. So, they set out to design a custom font that would be unique, playful, and perfectly aligned with the target audience. They didn't just stop at creating a custom font; they also crafted special shapes and patterns that would complement and enhance the overall visual experience. The team carefully curated a collection of playful elements that incorporated vibrant colors, whimsical illustrations, and captivating patterns. The result was a harmonious blend of typography, shapes, and patterns that brought the Kidswear campaign to life. The custom font became the voice of the campaign, while the special shapes and patterns added depth and visual interest to the designs. Every detail was carefully considered, ensuring that the final outcome was a true reflection of the brand's values and captured the hearts of both children and parents alike.   Typography Hola Bosque™ is a digital studio based Buenos Aires, Argentina. You can follow more of their works via the shared links below. Behance Twitter Team Design & Art Direction: HolaBosque Design Lead, Pattern Design and Illustration: Bernardo Henning Art Direction Lead for John Lewis: Nic Duffy Renders: Pablo Colabella Photography: Nerys Jones Agency: The Different Folk   All product photos are used only for presentation for non-commercial purposes only. All rights reserved.

a year ago 82 votes
Art direction and branding for Port3 Web3 Experience

Art direction and branding for Port3 Web3 Experience abduzeedo0510—23 Shin Bao, K.K, and Emma Wang have collaboratively embarked on a remarkable branding and design project aimed at developing a visually captivating website and art direction that effectively communicates the brand identity and functionality of Port3. This groundbreaking platform aggregates and standardizes off-chain/on-chain data, constructing a social data layer that holds immense potential for web3 use cases. With a primary focus on their key product, SoQuest, Port3 aims to establish itself as a leading force in the realm of web3 technology. The website design meticulously captures Port3's brand position, elucidating its mission to aggregate and standardize data for universal accessibility. With a user-centric approach, the website visually communicates Port3's commitment to empowering users in the web3 ecosystem. The design showcases the brand's expertise in blending off-chain and on-chain data to create a robust social data layer, facilitating seamless interactions and unlocking new possibilities for decentralized applications. Shin Bao, K.K, and Emma Wang's art direction expertise shines through in the visually appealing aesthetics of Port3's web presence. Employing a harmonious combination of vibrant colors, clean lines, and intuitive navigation, the design captivates visitors and guides them through the brand's story. The art direction creates a cohesive visual language that reinforces the cutting-edge nature of Port3's technology and fosters a sense of trust among users. Port3's branding and  visual identity is carefully crafted to resonate with the web3 community. The logo design embodies the brand's core values, representing the aggregation and standardization of data in a simple yet powerful manner. The choice of colors evokes a sense of innovation, while the typography exudes a modern and approachable vibe. This cohesive visual identity sets the tone for Port3's presence in the web3 space, establishing it as a reliable and forward-thinking platform. Through their collaborative efforts, Shin Bao, K.K, and Emma Wang have successfully created a visually captivating website, art direction, and brand visual identity for Port3. This design project effectively communicates the brand's mission of aggregating and standardizing off-chain/on-chain data to build a powerful social data layer for web3 use cases. With a strong focus on SoQuest, Port3's key product, the design showcases the brand's expertise and commitment to driving innovation in the web3 ecosystem. As Port3 continues to make strides in revolutionizing data accessibility, its visually appealing website and cohesive brand visual identity will undoubtedly play a significant role in capturing the attention and trust of the web3 community. Art direction and branding artifacts For more information make sure to check out Shin Bao, K.K, and Emma Wang Behance profiles.

a year ago 76 votes
Pixel Art Delight: art direction and illustrations for Foxbat Five

Pixel Art Delight: art direction and illustrations for Foxbat Five abduzeedo0509—23 Renowned artist Margarita Solianova has embarked on a creative journey, shaping the visual identity of the indie arcade game, Foxbat Five. Solianova's exceptional art direction and stunning pixel art illustrations transport players into a captivating world, rich in nostalgic charm and classic gaming aesthetics. Solianova's art direction for Foxbat Five embraces the essence of classic pixel art, paying homage to the golden era of gaming. The project showcases a masterful blend of intricate designs, vibrant color palettes, and meticulous attention to detail, resulting in a visually immersive experience that strikes a chord with both seasoned gamers and nostalgic enthusiasts. The heart and soul of Foxbat Five lie in Margarita Solianova's pixel art illustrations. Her exceptional talent is evident in every character, environment, and animation. Each pixel is thoughtfully placed, infusing life into the game's imaginary universe. Solianova's illustrations boast a timeless appeal, skillfully conveying the personalities and emotions of the characters while evoking a sense of wonder and awe among players. Within the pixelated realm of Foxbat Five, Solianova's illustrations bring the concept of traction and gravity to life. The characters' movements are fluid, capturing the essence of their interactions with the environment. Solianova's art direction enables players to visually comprehend the physics-based mechanics of the game, deepening their immersion into this captivating digital world. Margarita Solianova's art direction and pixel art illustrations for Foxbat Five breathe new life into the indie arcade game, enchanting players with their timeless beauty and meticulous attention to detail. Pixel art samples      For more information make sure to check out Margarita Solianova on Behance. You can also download Foxbat Five on the Google Play

a year ago 78 votes
Flore — A Collection of Digital Illustrations

Flore — A Collection of Digital Illustrations AoiroStudio0508—23 Laura Normand is a talented Paris-based artist whose work revolves around vibrant and captivating digital illustrations. With a particular focus on flowers, her series of colorful artworks brings the beauty and allure of nature to life in a unique and captivating way. Normand's digital illustrations are characterized by their bold and vivid color palettes, intricate details, and a whimsical touch. She expertly captures the essence of different flowers, from delicate roses to exotic orchids, and transforms them into eye-catching compositions that exude a sense of joy and energy. Through her art, Normand explores the intersection of nature and digital technology, blending the organic forms of flowers with the precision and versatility of digital illustration tools. Her work showcases a deep appreciation for the intricacies of botanical shapes, textures, and patterns, and she skillfully employs various digital techniques to bring out their vibrant qualities. The use of vibrant colors in Normand's illustrations adds a dynamic and lively element to her artworks. Each artwork is a celebration of the diverse and rich hues found in nature, showcasing a harmonious interplay of bold and contrasting tones. The result is a visually stunning series that is both visually pleasing and emotionally evocative. Digital Illustration   Laura Normand is an Pop & Trippy! Artist based in Paris, France.  You can follow more of her works via the shared links below. Personal Site Behance Instagram   All product photos are used only for presentation for non-commercial purposes only. All rights reserved.

a year ago 90 votes

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Background Image Opacity in CSS

The other day I was working on something where I needed to use CSS to apply multiple background images to an element, e.g. <div> My content with background images. </div> <style> div { background-image: url(image-one.jpg), url(image-two.jpg); background-position: top right, bottom left; /* etc. */ } </style> As I was tweaking the appearance of these images, I found myself wanting to control the opacity of each one. A voice in my head from circa 2012 chimed in, “Um, remember Jim, there is no background-opacity rule. Can’t be done.” Then that voice started rattling off the alternatives: You’ll have to use opacity but that will apply to the entire element, which you have text in, so that won’t work. You’ll have to create a new empty element, apply the background images there, then use opacity. Or: You can use pseudo elements (:before & :after), apply the background images to those, then use opacity. Then modern me interrupted this old guy. “I haven’t reached for background-opacity in a long time. Surely there’s a way to do this with more modern CSS?” So I started searching and found this StackOverflow answer which says you can use background-color in combination with background-blend-mode to achieve a similar effect, e.g. div { /* Use some images */ background-image: url(image-one.jpg), url(image-two.jpg); /* Turn down their 'opacity' by blending them into the background color */ background-color: rgba(255,255,255,0.6); background-blend-mode: lighten; } Worked like a charm! It probably won’t work in every scenario like a dedicated background-image-opacity might, but for my particular use case at that moment in time it was perfect! I love little moments like this where I reach to do something in CSS that was impossible back when I really cut my teeth on the language, and now there’s a one- or two-line modern solution! [Sits back and gets existential for a moment.] We all face moments like this where we have to balance leveraging hard-won expertise with seeking new knowledge and greater understanding, which requires giving up the lessons of previous experience in order to make room for incorporating new lessons of experiences. It’s hard to give up the old, but it’s the only way to make room for the new — death of the old is birth of the new. Email · Mastodon · Bluesky

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Discernment in the Digital Age

How elimination, curation, and optimization can help us see through the technological mirror. Technology functions as both mirror and lens — reflecting our self-image while simultaneously shaping how we see everything else. This metaphor of recursion, while perhaps obvious once stated, is one that most people instinctively resist. Why this resistance? I think it is because the observation is not only about a kind of recursion, but it is itself recursive. The contexts in which we discuss technology’s distorting effects tend to be highly technological — internet-based forums, messaging, social media, and the like. It’s difficult to clarify from within, isn’t it? When we try to analyze or critique a technology while using it to do so, it’s as if we’re critiquing the label from inside the bottle. And these days, the bottle is another apt metaphor; it often feels like technology is something we are trapped within. And that’s just at the surface — the discussion layer. It goes much deeper. It’s astounding to confront the reality that nearly all the means by which we see and understand ourselves are technological. So much of modern culture is in its artifacts, and the rest couldn’t be described without them. There have been oral traditions, of course, but once we started making things, they grew scarce. For a human in the twenty-first century, self awareness, cultural identification, and countless other aspects of existence are all, in some way or another, technological. It’s difficult to question the mirror’s image when we’ve never seen ourselves without it. The interfaces through which we perceive ourselves and interpret the world are so integrated into our experience that recognizing their presence, let alone their distorting effects, requires an almost impossible perspective shift. Almost impossible. Because of course it can be done. In fact, I think it’s a matter of small steps evenly distributed throughout a normal lifestyle. It’s not a matter of secret initiation or withdrawing from society, though I think it can sometimes feel that way. How, then, can one step outside the mirror’s view? I’ve found three categories of action particularly helpful: Elimination One option we always have is to simply not use a thing. I often think about how fascinating it is that to not use a particular technology in our era seems radical — truly counter-cultural. The more drastic rejecting any given technology seems, the better an example it is of how dependent we have become upon it. Imagine how difficult a person’s life would be today if they were to entirely reject the internet. There’s no law in our country against opting out of the internet, but the countless day-to-day dependencies upon the it nearly amount to a cumulative obligation to be connected to it. Nevertheless, a person could do it. Few would, but they could. This kind of “brute force” response to technology has become a YouTube genre — the “I Went 30 Days Without ____” video is quite popular. And this is obviously because of how much effort it requires to eliminate even comparatively minor technologies from one’s life. Not the entire internet, but just social media, or just streaming services, or just a particular device or app. Elimination isn’t easy, but I’m a fan of it. The Amish are often thought of as simply rejecting modernity, but that’s not an accurate description of what actually motivates their way of life. Religion plays a foundational role, of course, but each Amish community works together to decide upon many aspects of how they live, including what technologies they adopt. Their guiding principle is whether a thing or practice strengthens their community. And their decision is a collective one. I find that inspiring. When I reject a technology, I do so because I either don’t feel I need it or because I feel that it doesn’t help me live the way I want to live. It’s not forever, and it isn’t with judgement for anyone else but me. These are probably my most radical eliminations: most social media (I still reluctantly have a LinkedIn profile), streaming services (except YouTube), all “smart home” devices of any kind, smartwatches, and for the last decade and counting, laptops. Don’t @ me because you can’t ;) Curation What I have in mind here is curation of information, not of technologies. Since it is simply impossible to consume all information, we all curate in some way, whether we’re aware of it or not. For some, though, this might actually be a matter of what technologies they use — for example, if a person only uses Netflix, then they only see what Netflix shows them. That’s curation, but Netflix is doing the work. However, I think it’s a good exercise to do a bit more curation of one’s own. I believe that if curation is going to be beneficial, it must involve being intentional about one’s entire media diet — what information we consume, from which sources, how frequently, and why. This last part requires the additional work of discerning what motivates and funds various information sources. Few, if any, are truly neutral. The reality is that as information grows in volume, the challenge of creating useful filters for it increases to near impossibility. Information environments operated on algorithms filter information for you based upon all kinds of factors, some of which align with your preferences and many of which don’t. There are many ways to avoid this, they are all more inconvenient than a social media news feed, and it is imperative that more people make the effort to do them. They range from subscribing to carefully-chosen sources, to using specialized apps, feed readers, ad and tracking-blocking browsers and VPNs to control how information gets to you. I recommend all of that and a constant vigilance because, sadly, there is no filter that will only show you the true stuff. Optimization Finally, there’s optimization — the fine-tuning you can do to nearly anything and everything you use. I’ve become increasingly active in seeking out and adjusting even the most detailed of application and device settings, shaping my experiences to be quieter, more limited, and aligned with my intentions rather than the manufacturers’ defaults. I spent thirty minutes nearly redesigning my entire experience in Slack in ways I had never been aware were even possible until recently. It’s made a world of difference to me. Just the other day, I found a video that had several recommendations for altering default settings in Mac OS that have completely solved daily annoyances I have just tolerated for years. I am always adjusting the way I organize files, the apps I use, and the way I use them because I think optimization is always worthwhile. And if I can’t optimize it, I’m likely to eliminate it. None of these approaches offers perfect protection from technological mediation, but together they create meaningful space for more direct control over your experience. But perhaps most important is creating physical spaces that remain relatively untouched by digital technology. I often think back to long trips I took before the era of ubiquitous computing and connection. During a journey from Providence to Malaysia in 2004, I stowed my laptop and cell phone knowing they’d be useless to me during 24 hours of transit. There was no in-cabin wifi, no easy way to have downloaded movies to my machine in advance, no place to even plug anything in. I spent most of that trip looking out the window, counting minutes, and simply thinking — a kind of unoccupied time that has become nearly extinct since then. What makes technological discernment in the digital age particularly challenging is that we’re drowning in a pit of rope where the only escape is often another rope. Information technology is designed to be a nearly wraparound lens on reality; it often feels like the only way to keep using a thing is to use another thing that limits the first thing. People who know me well have probably heard me rant for years about phone cases — “why do I need a case for my case?!” These days, the sincere answer to many peoples’ app overwhelm is another app. It’s almost funny. And yet, I do remain enthusiastic about technology’s creative potential. The ability to shape our world by making new things is an incredible gift. But we’ve gone overboard, creating new technologies simply because we can, without a coherent idea of how they’ll shape the world. This makes us bystanders to what Kevin Kelly describes as “what technology wants” — the agenda inherent in digital technology that makes it far from neutral. What we ultimately seek isn’t escape from technology itself, but recovery of certain human experiences that technology tends to overwhelm: sustained attention, silence, direct observation, unstructured thought, and the sense of being fully present rather than partially elsewhere. The most valuable skill in our digital age isn’t technical proficiency but technological discernment — the wisdom to know when to engage, when to disconnect, and how to shape our tools to serve our deeper human needs rather than allowing ourselves to be shaped by them. “It does us no good to make fantastic progress if we do not know how to live with it.” – Thomas Merton

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