Shaving your facial hair is about as incontrovertibly masculine as it gets these days, which is probably why shaving cream has become such an advertising battleground when it comes to definitions of manhood.
New York-based brand Eos has come up with a pretty amusing campaign that pits a regular guy against a toxic Ivy League bro, taking a light-hearted look at the reasons why you might choose Eos. Is it because it has “notes of whiskey with undertones of talking over people”? Or because it gives you 24-hour hydration? It’s a much more modern and skilful take on the subject than Gillette’s controversial 2019 ad, which replaced the 30 year-old “the best a man can get” tagline with “the best men can be.” The ad came at the height of the #MeToo movement and took a heavy-handed, virtue-signalling approach, lecturing men about how they ought to behave.
Lynx, which for years based its very successful “Lynx effect” campaign on the idea of sex appeal, has foundered slightly in its attempts to move into a less toxic territory. But this campaign by Mischief @ No Fixed Address, feels very happy in its smooth, hydrated skin. MAA creative scale: 7 via Digital Marketing Education https://ift.tt/eidKVo9
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Give your web design a grungy look with graffiti fonts. Graffiti fonts have a lot of personality — their bold, dramatic design helps them stand out against gritty street environments. Using a graffiti-based typeface online has the same effect, making your website’s content stand out amongst the rest. Many graffiti-based fonts are based on real street art, so they give that characteristic urban look to copy. Let’s discuss five common types of street graffiti before exploring how each style shows up in our top 11 graffiti fonts. Common types of street graffitiThe style a graffiti artist chooses depends on their skill level, intention, and message. Here are the five main street styles: TagsTagging is how most graffiti artists get started — it’s a quick way to develop the artist’s unique handstyle. Graffiti tags are essentially stylized signatures. They’re swift, monochromatic, and identify artists. Bubble lettersAfter mastering tags, most artists move on to spray painting “throw-ups,” or “throwies” (bubble letters squished against each other). Basic throw-ups have two paint colors: one for the outline, one for the fill. After throw-ups, some artists progress to “hollows,” which have blank space between the letters. Hollows are more difficult than throw-ups because they’re harder for artists to correct if they make mistakes. HandwritingSome graffiti artists develop a unique handwriting style to complement their message — this can be cursive, printed, brushstrokes, calligraphy, or a combination. Strictly speaking, this isn’t a graffiti “style,” but it’s very common and has inspired many fonts on our list. StencilsFor a long time, most graffiti artists snubbed stencils because using pre-cut templates doesn’t require much artistic skill. But Banksy changed that with his complex, evocative stencil art. These days, artists often use stencil graffiti to communicate thought-provoking social or political messages. WildstyleWildstyle involves letters that are often unrecognizable to non-artists due to their complexity — they can be stretched, twisted, and ornamented with 3D elements, spikes, arrows, and flares. Like tags, wildstyle is unique to each artist, so it acts as a code between graffiti artists. The 11 best graffiti fontsGraffiti font alphabets mimic the street graffiti styles above. Because they’re atypical, most are used as display fonts and not for body copy. Use them to spice up headings and logos, but use a simpler typeface, like Helvetica or Inter, for paragraph text to improve readability. To make sure you find the font you need, we’ve compiled the 11 best graffiti fonts for web design. This list covers every category, from tagging to stencils. Don’t worry about licensing — all of them are 100% free for both personal and commercial use. 1. Another TagAnother Tag is a bold, all-caps font inspired by more sophisticated tagging practices. This alphabet includes two versions of each letter (with and without extra ornamentation). 2. Street SoulStreet Soul is an old-school font with tagging-inspired graffiti letters. The strokes inside the Q and O characters give it a unique touch. 3. AntiheroAntihero is a thick-penned all-caps font mimicking handwritten graffiti and featuring realistically textured brushstrokes. It’s free to download from 1001 Free Fonts. 4. A Dripping MarkerA Dripping Marker mimics handwritten marker or graffiti strokes, including the drips. It’s ideal for projects related to arts and crafts or in the horror genre. 5. BlowBrushBlowBrush is a classic brush style with a unique twist: half-size vowels that nestle into the consonants. 6. FusterdFusterd is a textured script font with an elegant handwriting feel. There are lots of subtly different underline and paint blotch options to choose from, so it’s great if you want to add custom flourishes. 7. Attack GraffitiThe first of the bubble styles on this list, Attack Graffiti features highlights that give it a 3D effect. It’s a playful, retro-style uppercase-only font with additional glyphs for “FF” and “TT.” 8. Sprite ShadowSprite Shadow is a highly legible bubble font with a grungy cartoon feel. It’s ideal for international projects, as it has an extensive set of non-English characters, including Cyrillic letters. 9. Capture ItStencil fonts are very bold — too bold for many projects. (They might even be some of the worst fonts for web design.) But if you’re looking for a dramatic effect, perhaps involving a social or political message, stencil fonts work well. In metallic tones, stencil style Capture It looks like rusted metal lettering and has military overtones. In non-metallic colors, it’s a more standard stencil font. 10. World ConflictA messier stencil font, World Conflict suggests work that’s been done in a hurry under dangerous circumstances. The font is caps-only and has limited punctuation, so it’s better for short, simple messages. 11. Chase Zen JackulatorWildstyle graffiti is notoriously impenetrable, but if you’d like to experiment with a wildstyle font, Chase Zen Jackulator is on the more legible side. Keep in mind that accessibility may be an issue with this font (and with graffiti typefaces in general). Play around with different color combinations to increase readability and limit your use of this font to headings. The best sources for free graffiti fontsIf none of the above fonts seems quite right, don’t worry — there are many cool fonts for web and graphic design, including free and low-cost options. You can also browse the following collections of free fonts:
If you’re really struggling, find a font generator tool to test fonts until something inspires you. When choosing the best font for your site, consider font size and complementary fonts to make sure your chosen font loads correctly across browsers and devices and is legible to the most viewers. Additional font resources on WebflowTo learn more about typography in general, browse Webflow’s typography reading list or our guidelines on web-safe fonts. Webflow University also offers a course in advanced web typography that covers positioning, backgrounds, colors, breakpoints, effects, and more. via Pixel Lyft https://ift.tt/HyUmesA Plus, agency BSSP introduces C.R.A.I.G., an insufferable AI creative director. via Digital Marketing Education https://ift.tt/HbkEnRy 2023 is expected to be a big year for travel, but consumers are more price conscious than ever before. With inflation and labor shortages on the rise, the cost of travel has increased year over year (YoY). But that doesn’t mean consumers aren’t interested anymore, as 50% of consumers still consider investing in a vacation as a top priority for how they spend their money in With spring break just around the corner, Microsoft Advertising Insights has the top takeaways your business can take to reach consumers on a budget. The price is rightConsumers are searching earlier and more frequently this year, especially for more budget-friendly travel options. In a recent survey from Booking.com, it was shown that almost 65% of travelers plan to keep a close eye on deals and hacks in 2023. This aligns with our first-party data, as Microsoft Advertising has seen an increase of +103% YoY for travel searches containing the word “cheap” and an increase of +165% YoY for Airlines, hotels, cruises, and car rentals were all included, showing that consumers are looking for cost saving measures in multiple ways for their upcoming vacations. Action: Use Broad match and Dynamic Search Ads to expose new search trends and themes related to cost-saving measures and highlight your current offerings with Hotel Price Ads. Timing is everythingSince consumers are spending more time looking up deals, they’re also starting their search journey earlier. In the same study mentioned earlier, 61% of recently surveyed people said they’ll be planning their vacations further in advance than before this This has led to a decline in last-minute travel, and Microsoft Advertising has seen a decrease of -11% YoY in searches and -17% YoY in clicks thus far for last-minute travel in People are more flexible on their vacation timing recently, with 50% of consumers agreeing they would be willing to travel in the off-season if it saved them (something to keep in mind for spring break)! Action: Leverage the Microsoft Audience Network to reach consumers across their buyer journey early—native ads can help push users down the funnel by showcasing beautiful images that will make consumers want to learn more about your destination. Take me away (on public transportation)With the price of gas continuously on the rise, online activity for public transportation has been booming on Microsoft Advertising. Consumers are frequently looking up alternative methods to car rentals, which have seen a -6% YoY decrease in clicks in Instead, they’re searching for more budget friendly options like Bus & Rail Services (+15% YoY in clicks) and Ridesharing (+101% YoY in clicks). Action: Inspire planners with Tours and Activities Ads and make sure to highlight specific tours that are easy to reach via public transportation (or that provide transportation) for best results. ResourcesCurious about other category trends we’re seeing across our marketplace from a search or native perspective? visit the Microsoft Advertising Insights content hub. Stay informedSign up for the Microsoft Advertising Insider newsletter to keep up with the latest insights, product news, tips and tricks, thought leadership, customer success stories, and resources. via Digital Marketing Education https://ift.tt/FHGaihr It’s possible to build a surprising amount of graphics with CSS alone. Let’s create a cute ladybug icon with just a single div element! How to Get Creative With a Single Div Before we begin, there are some CSS skills you’ll need. The main problem with single elements resides in the fact that we’re limited to the number of “building blocks” we can use. Luckily, there are some tricks: Pseudo ElementsPseudo elements (also referred to as generated content) don’t exist in the document markup itself (the DOM) but are created by the CSS. They offer you the possibility to add to your default element two others which can (more or less) use the same properties. For example, take this markup:
Then apply the following style rules:
So there we go: one single div, but three building blocks: The double colon ( One thing to note is that pseudo elements will be displayed on top of the default element, unless you give them a lower
Box ShadowsIf pseudo elements alone don’t give you enough blocks to build your icon, you can also use box shadows. This technique will allow you to create as many clones as you want. Let’s look at an example with a circle:
As you can see, the box shadows allow you to reduce or increase the size of your inital shape and place it where you want. The property detail
The first shadow defined will always appear above subsequent shadows. The
GradientsLike shadows, CSS gradients can be combined and placed independently. Using gradients to create shapes is a bit more complicated than the previous properties, so let’s focus on a “simple” example. In this example we will create four different circles using radial gradients and we’ll distribute them within the parent element.
To understand this demo you have to imagine a grid on the element. Each cell of the grid would be a different gradient. In this case cells are 50px by 50px ( The Gradient property in detail:
To help with creation of CSS gradients, you can use a generator such as Collorzilla’s Gradient Editor. Now that we have seen how to create a maximum of building blocks from a single div, let’s build our ladybug! How to Create an Icon With a Single divStep 1: The BodyHere comes the one single HTML line of this tutorial:
To allow our icon to be easily resizable we will use flexible units of measurement; em and %. Thanks to this you will be able to resize as you wish, simply by altering the font-size on the element. All modern browsers support the CSS we’re using, so I’ll let you change the vendor prefixes depending on your needs. We’ll start by giving shape and color to our ladybug’s body:
Now let’s apply the points on the body using the
Excellent work – we’ve finished with the body for the moment. Step 2: The HeadThis part is the quickest. We’ll draw a half circle black and place it on top of the body. For this we will use the pseudo element
Step 3: The EyesHere we will create eyes using the pseudo element
Step 4: The LegsYou must be thinking “we have a left over element”. Don’t worry, we will reuse the same box shadow used for eyes.
Our ladybug icon is finally finished! Step 5: The Bonus!We’re actually not quite finished. Here is the bonus CSS code to animate our ladybug on hover:
We begin by defining some keyframes which we name Final ResultHere’s a reminder of what we’ve created: ConclusionThrough this tutorial I hope I’ve shown you the potential of CSS, and what’s possible with a single HTML element. It’s always wise to consider browser support for the CSS properties discussed in this tutorial, making sure that they degrade gracefully. More Inspirationvia Pixel Lyft https://ift.tt/Qn9UIPy Royal Ascot hoves into view at the end of June (the week after Cannes if you’re that way inclined) with its usual daft ceremonies including the Royal Family parading down the racecourse – will Andrew get a ticket?)
Dark Horses is on the case this year with a campaign – ‘the Ascot You’ – showing people in everyday life dressing as (some) do for Ascot (you only need to wear morning dress if you’re in the Royal Enclosure and you probably aren’t.) Steve Howell, ECD at Dark Horses, says: “There’s a magical transformation that happens to everyone that attends an Ascot event, from getting dressed up, to feeling the thrill of the races, it’s a place where you can be whoever you want to be. The Ascot You is all about celebrating that release from within and how it can resonate into your everyday life.”
Ros Robinson, head of marketing at Ascot Racecourse says: “We are thrilled to be partnering with Dark Horses, the team truly captured the essence of Royal Ascot and the experience of attending a race day in the creative. This was borne out of a clear understanding of our business opportunities and how to deliver them through our marketing communications.” Actually it’s not bad, an absence of hoorays and the horses get a look-in. MAA creative scale: 5.5 via Digital Marketing Education https://ift.tt/VYieLjp Ems are still the best units for sizing text on the web. There’s only one reason you’re relying on pixels, and that’s because you haven’t yet gotten the hang of ems. Let’s change that! Size is EverythingWhen we build websites, we need to tell the browser how “big” stuff is: “this heading is so big”, “this container is yay high”, “this form is wider than that”, it’s how we layout a page. Pixels have always made perfect sense as the chosen unit of measurement; we’re outputting to a screen, so what else would we use?! However, pixels aren’t particularly flexible. And it turns out that being inflexible isn’t great for the web. Problems with PixelsOliver Reichenstein stated a long time ago: “The Web is 95% Typography”, but it’s an idea designers still brush over. Content and users; they are our priorities as web designers, and typographic design helps us meet those priorities. Thanks to simple page zooming, users can view any website at whatever size they like, perfectly scaling the content up and down proportionately. But this scales everything, layout and UI elements included.
Browsers display body copy at a default size. On desktops this is generally 16px, mobile browsers vary. And as Kathleen says, users can change this default, depending on what they prefer. In doing so, they change the size of the text, and only the text. But when web designers use CSS to cast the base font size in stone.. ..they prevent the user from tailoring their own reading experience, ultimately making the content less accessible. If your font-size is set in pixels, browser settings won’t change a thing. Set a Flexible Default Font SizeLesson one is in handing power back to the user. Don’t prevent users from setting their own type size, but make sure you begin on a level playing field. Set your base font to 100% of the browser default: then we can work from there. Our Typographic ScaleWe still need to define how large our various typographic elements appear, especially if we’ve used a CSS reset technique to remove all default sizing. A fairly typical modular scale would look something like this: These figures have been used for centuries, calculated in order to optimize proportions, without having to physically manufacture too many of the blocks used in printing. There’s all kind of clever mathematics which justify scales like this and I’m sure you can appreciate that this range is pleasing to the eye too. We would translate this scale to our own typography by applying CSS a bit like this: However (as we’ve said already) using fixed pixel values is inflexible, so let’s rectify that.. What is an Em?An em is a unit of measurement. Just like pixels, ems can determine the size of elements on a web page. Unlike pixels, which are absolute, ems are relative to their parent’s font size, which is where a lot of confusion lies. 1em is equal to the inherited font size. If the font size of a Ems get their name from printing. Precisely when the term was first used is unclear, but as the uppercase M (pronounced emm) most closely represents the square printing block on which printing letters were placed, it came to lend its name to the measurement. Whatever the point size of the font in question, the block of the uppercase M would define the Em. An em is usually a touch larger than the letterform, but you get the idea. How to Convert Pixels to EmsWe’ve already started to set our typographic scale in pixels, so how do we convert that into ems? A simple calculation, which expresses the desired font size in relation to the body font size: Using the body size we assume to be 16px, aiming to convert our 36px Here’s how our scale is converted, using the method above: Some of these values can get a little complex, but don’t be afraid to be as precise as possible with the decimal places. Browsers will always do their best to render the exact values.
It’s useful to make a note in the comments, to remind yourself how you calculated each em value.
Issues with CascadingThe number one biggest grumble people have with ems comes from complications which arise from cascading. An em value is relative to its nearest parent’s value, which can accidentally mess things up if you’re not paying attention. Take a look at the following css, which aims to get anchors and paragraphs sized equally: Now take a look at this innocent piece of markup: As you’d expect, all appears well in the browser. Both the paragraph and the anchor are displaying at 1.2em, relative to the body font size However, if we were to introduce a second anchor within the paragraph, let’s see what happens: The anchor within the paragraph is still sized at 1.2em, but that’s now relative to the parent paragraph, which is already 19.2px –
Nested list items in navigation menus are a classic example of where cascading can get out of control – watch out for that one.
The FixThere is no fix for this; the last thing you want to do is add an extra rule to decrease the size of anchors which happen to be in paragraphs – that’s a one-way ticket to Migrainesville. In order to keep your CSS and HTML maintainable, it’s important to Keep It Simple™.
That should help! Using Ems does mean that you’ll have to think quite hard sometimes, but doing so will force you to clean up your act and be efficient in your coding. RemsRems are useful and behave in exactly the same way as ems, without the cascading. Every Rem you define is relative to the body font size. Support is as good as you need these days. What About Using Ems Elsewhere?We’ve covered the CSS In this case we’re actually better off using a unitless value. That’s right, just a number; no pixels or ems or anything. Unitless values are the only way to guarantee that descendants of an element inherit a relative There’s no fixed rule for how large line-height should be, but 1.5 is a reasonable value to try out and will make your typography pleasantly readable. Structural ElementsOnce you get into the mindset of keeping your layout flexible in terms of the font size, you’ll find you rely on pixels less and less for laying out elements on the page. If we’re talking about fluid layouts, use % values to determine the width of any given element, or let Flexbox and CSS Grid do the measuring for you.
Vertical spacing can be achieved very easily with ems, if you want to. Again, it’s a question of being clean with your markup and styling. Consider restricting margins to the bottom of your elements, so as to make managing vertical rhythm easier. If you need to define a Rounded corners on a button? Set the Text shadow, box shadow, ditto. RWDAnd if you need to change the size of everything under certain circumstances, like smaller viewports? Alter the base font size of the body in the appropriate media query ConclusionStart using ems today! Your content is typographically grounded, whether you realise it or not. You don’t have to ditch pixels entirely, but begin thinking in ems and you’ll soon find that they make your web designs more flexible. Learn More
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7.9 Hours HTML & CSS for BeginnersIn this free course, you’ll learn how to code with modern HTML and CSS, the main building blocks of any website. via Pixel Lyft https://ift.tt/JjaHsBm So the overarching message is twofold: Men shouldn’t choose overly masculine or stereotypically masculine or toxically masculine products. Do those even still exist? Not in the shaving category to my knowledge. Duke Cannon? Nope. Axe? They’re now partnering with Lil Baby to rap about the smell of their products, so maybe that’s a bad thing? Edge Shave Gel just posts product photos on its Facebook page. Old school brands like Barbasol’s “Can of Can-Do” touts the benefits of giving you a close shave. Other youth-oriented brands like Dr. Squatch sometimes veers into juvenile territory since it resonates with their demographic. But for every “don’t smell like the soap your mom picked for you”, commercial they post tons more content that touts their organic ingredients, unboxing videos, collabs with Star Wars and the like. Their influencer game is strong and everyone in their ads seems happy. What really strikes me is that no one is happy in this Eos campaign. I get that the bogeyman character is supposed to be a dick. But the hero guy just looks sad and wants to be left alone. In this sense, he represents consumers in general. Even the woman who hands him the product and reads from the brief sounds like she pities him. Also, what does 24-hour hydration mean? They don’t explain of course, but at least they only left us with one benefit rather than three. I am unaware of any shaving cream that doesn’t moisturize one’s face. Then again, this is grocery store shaving cream. Since there is no difference between Eos and any other brand on the shelf, it’s a parity product. And now that there are so-called right-leaning products like Jeremy’s Razors carving out a “woke” alternative (whatever that means) the landscape is getting even more crowded. The only thing all brands care about is getting your money. And they’ll do whatever it takes to get it. Including manipulating your feelings, shaming you, telling you you aren’t a real man if you don’t buy our products, or telling you that real men don’t buy our competitor’s products. In other words, advertising gonna advertise. It’s cynical. It’s formulaic. And it smells. via Digital Marketing Education https://ift.tt/X502teM
In this comprehensive tutorial, we will cover the fundamentals of Theatre.js and explore how to craft stunning animation sequences. We will demonstrate how to animate a Three.js cube, integrate eye-catching visual effects, modify colors, experiment with HTML elements, and synchronize the animation with sound playback at specific intervals. If you prefer a video tutorial, you can follow this link. Table of Contents
Installation and setupBefore anything, we need a starter template with Three.js and a basic scene. Theatre.js has two essential packages:
We can add the theatre.js packages like this:
Alternatively, you can download this starter template that comes with all the required dependencies, and run the following commands:
Create cube and floorUsing my starter template gives us a simple cube, a floor, some lighting and orbit controls.
Import Theatre and create a projectWe need to import { getProject, types } from theatre/core. Once that’s done, we also need to import studio from @theatre/studio and initialize studio. A project in Theatre.js is like a saved file. Projects are stored in the localStorage, so you don’t lose your progress if you close and reopen your browser. Create a new theatre project and give it a name.
Objects and propsEvery object that needs to be animated has a corresponding Theatre Sheet Object. These Sheet Objects contain properties, or Props, that can be animated to create movement and other dynamic effects in the scene. Let’s create a new boxObject and call it ‘Box’.
Props correspond to specific characteristics of the object that can be animated. Props can have different types, which can be imported with import {types} from “@theatre/core”. We’ll add some props. Let’s start with rotation by creating a prop of type compound and add xR, yR and zR of type number, value: 0 and a range: [-Math.PI, Math.PI]. Similarly, let’s add props for position and scale. Adding a nudgeMultiplier to these gives us more granular control.
We can now see that we have a new Box object under our sheet. Animating the cubeTime to animate our cube. We need a way to rotate our cube mesh based on the values of the boxObj props. This can be done by listening to the changes of the boxObj using the onValuesChange() hook.
Moving the sliders now affects our cube in real time. Adding keyframesLet’s add some keyframes. You can right-click on any of the props and click sequence or sequence all. This brings up the sequence editor with the sequenced props. We can resize the sequence timeline, zoom in or out, and use the blue colored pointer to scrub through the sequence. Drag to move the pointer and click the yellow button to add a keyframe. Let’s resize the sequence timeline to be a little over 2 seconds. Then add keyframes to animate our cube’s y position. Similarly let’s sequence the scales and add keyframes to those too. Follow these values or play around until it looks good to you. Then press spacebar to play the sequence. Graph editorClicking the button beside each of our props in the sequence editor opens the graph editor, or the multi-track curve editor. This comes in handy when we want to finesse the animations by editing the speed curve of one or more tracks by hand. Click on the links between keyframes to reveal a list of default easing curves that can be used. Modifying colorsLet’s move on and see how we can modify colors with theatre.js. Let’s create a new object and name it colors. The backgroundColor is of types.rgba(). Similarly we also create props for floor color and box color.
In the onValuesChange() hook, we can either set the scene.background or the background color of the underlying HTML element. Using setRGB(), we set the color of the floor and box materials. Click and drag the color picker to change the color.
Glow when stretchedIt would be nice to make the cube glow when stretched. Let’s create a new theatre object: boxEffects. Then we add a prop boxGlow, to set the emissive color.
Let’s sequence that and add two keyframes with emissive as #000000 on the first few frames and pick a color for the compressed state. Then come back to normal on the last frame. Speed lines effectTo add the cartoon speed lines vFx, let’s create three cubes and scale them to look like lines and add them to the scene in a group.
Let’s add more props to the boxEffect Object to play with the scale, position and opacity of the lines. Try playing with the keyframes for this one to get the desired effect.
Comic text effectTime for some comic text effect: “Boink !” Import {CSS2DRenderer,CSS2DObject} from THREE and create a textRenderer. Let’s set the style.position to “absolute” and update the domElement in the orbitControls. Create a new CSS2Dobject, add it to the scene and then add an HTML element representing the same. Adding the text to the box, makes it follow the box position on the screen.
Create a new theatre.js object: textEffectObj with props for opacity, text and scale. With onValuesChange(), update the innerText of the HTML element. That’s a fun thing about theatre.js: It can be used to modify and animated text, too. Sequence all the props and add keyframe to make the text pop when the box bounces.
Playing with pointer position: Sound effectsFinally, to bring everything to life, let’s add sound effects. I searched Pixabay for some free sounds and imported them to the project. Then I loaded them using the Three.js AudioLoader. Here’s how I add sound to my Three.js projects:
Once the setup is complete, we can proceed to play sounds based on the pointer position in the sequence. We can achieve this by utilizing the onChange() hook and monitoring changes in the pointer position to trigger sound playback at specific intervals.
To add a new event listener for ‘click’, set
Tone mapping and encoderTo enhance the colors of the scene, you can specify different toneMappings and outputEncodings for the renderer. After experimenting with various options, I opted to set them to LinearToneMapping and sRGBEncoding for this particular project.
To add fog and synchronize it with the scene background, you can include the relevant code within the `colorObj.onValuesChange()` hook.
Deploy to productionThat’s all there is to it! To complete the project, we need to export the animation and deploy it to production. Simply click on the project name within the studio UI and select Export to JSON, then save the state. Import the saved state into main.js and under getProject, pass the saved state.
Once the animation has been exported, you can remove the `studio import` and `studio.initialize()` since they are not required for production. Alternatively, you could remove or include them conditionally as needed.
Don’t forget to check out the final code. Alternatively, you can follow along with the video tutorial by clicking on this link. Here are a few variations of a bouncy cube animated with theatre.js: via Pixel Lyft https://ift.tt/MIB1lSE Send it!In extreme sports, only the extraordinary survive. Pushing into uncertainty to achieve the extraordinary is termed “sending it.” There’s no room for hesitation or self-doubt. Practice acting on instinct, then show other women how. It’s a skill that can be strengthened like a muscle. Command conversationsWomen tend to yield to colleagues, especially men with more seniority, and are often cut off, interrupted and overlooked. We don’t have to lead a meeting to take over a conversation. More than just speaking up ourselves—which is critical—we need to look out for the woman who’s too polite to interrupt, disagree or claim credit for ideas and results. And we need to prompt her to speak up and claim the credit on the spot. Ban the apologySomewhere back in the day, advertising women started apologizing for all the little things—a typo, a minor correction, a rescheduling—to keep peace in the room. We need to cancel the apology instinct and remove “I’m sorry” from our vocabularies; these only reinforce self-doubt. Make a brag bookJust for you. Record all your accomplishments, with words, photos and videos. Look at it ritually. Celebrate it. Then make one for a young woman to help kick her off. You’ll shine brighter, too. Advertising is a team sport. When women play as a team, we change things. Just look at #metoo. We know who we are and how we succeed. When we focus our energy on elevating ourselves and each other in everyday ways, we’ll lift the industry altogether. via Digital Marketing Education https://ift.tt/SfckJWZ |
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