<?xml version="1.0" encoding="utf-8"?> <rss version="2.0"> <channel> <title>Design Remote Jobs | Find Remote Graphic Designer Job Positions</title> <link>https://www.designremotejobs.com</link> <description>Find remote graphic design jobs worldwide. Browse hundreds of remote positions for graphic designers, UI/UX designers, and creative professionals. Work from anywhere.</description> <lastBuildDate>Wed, 25 Mar 2026 21:11:42 GMT</lastBuildDate> <docs>https://validator.w3.org/feed/docs/rss2.html</docs> <generator>https://github.com/jpmonette/feed</generator> <language>en</language> <image> <title>Design Remote Jobs | Find Remote Graphic Designer Job Positions</title> <url>https://www.designremotejobs.com/images/logo-512.png</url> <link>https://www.designremotejobs.com</link> </image> <copyright>All rights reserved 2024, DesignRemoteJobs.com</copyright> <category>Bitcoin News</category> <item> <title><![CDATA[Uncovering Michaelina Wautier: The Lost 17th-Century Artist Who Defied the Male Canon]]></title> <link>https://www.designremotejobs.com/article/uncovering-michaelina-wautier-the-lost-17th-century-artist-who-defied-the-male-canon</link> <guid>uncovering-michaelina-wautier-the-lost-17th-century-artist-who-defied-the-male-canon</guid> <pubDate>Tue, 24 Mar 2026 19:00:26 GMT</pubDate> <description>< *Consistent quality … Michaelina Wautier, Flower Garland with a Butterfly, 1652. Photograph: Het Noordbrabants Museum* The exhibition is a rare example of an art historical investigation, in process in real time, seeking to solve such mysteries using the three pillars of scientific analysis, scholarship, and connoisseurship. Of only two known garland paintings, for example, one was painted on a wood panel embossed with an Antwerp mark, giving it geographical location, but it also contains unusual imagery of ox skulls, a motif seen on ancient Roman urns. Elsewhere, in Wautier’s only known drawing, she studies the Medici Ganymede bust which was then in Rome. Had she the financial means to visit Italy, or the social connections to encounter such visual references secondhand? The exhibition makes the most powerful case for **connoisseurship**: the identification of artistic authorship by sensing and recognizing a characteristic painterly *feel*. Practised by experts who have spent their entire careers simply looking and building up incomparable memory banks of imagery, it nonetheless is unquantifiable – so auction houses and galleries tend to favour the safer conclusions of science and scholarship. These are, however, nothing without the former. What is truly remarkable in this arrangement of paintings is the first two of three galleries showing portraits and religious paintings interspersed with those of her contemporaries – Rubens and Charles Wautier – and then those deemed her "most distinctive works" in the third, allowing for purely stylistic comparison used in connoisseurship. It reveals that Michaelina and Charles clearly shared a similar technical education, perhaps the same studio and materials. Indeed, the curators identify some examples where Michaelina’s hand may have contributed to her brother’s work.  *Unconventional … Michaelina Wautier, Smell, 1650. Photograph: Rose-Marie and Eijk Van Otterloo Collection/Museum of Fine Arts, Boston* The room of works solely by Michaelina is a joy; "most distinct" not only for a painterly application that is simultaneously baroque in style while also quintessentially her own (note her particular fondness for wild and loose locks), but full of luminosity and vivacity piqued by a sense of humour. Her **Five Senses series** upends traditional depictions: for example, Smell would conventionally show a woman sniffing a flower – here, a grimacing boy is recoiling, nose scrunched, from a rotten egg in his hand. This will probably be the first encounter with Michaelina Wautier’s work for UK audiences; grouping all her known works together, having been previously practically nonexistent in the collective imagination, has the uncanny effect of conjuring an entirely new person. An astonishing one of exceptional, fully formed ability. It also importantly raises the awareness required to continue efforts to uncover further misattributed or lost paintings. There is more to come in this story. - Michaelina Wautier is at the Royal Academy, London, from 27 March to 21 June]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>art-history</category> <category>female-artists</category> <category>baroque</category> <category>connoisseurship</category> <category>exhibition</category> <enclosure url="https://i.guim.co.uk/img/media/71f8b12dc4c6dcc633bfd99c229be9c4836ada2b/101_0_5989_4793/master/5989.jpg?width=1200&height=630&quality=85&auto=format&fit=crop&precrop=40:21,offset-x50,offset-y0&overlay-align=bottom%2Cleft&overlay-width=100p&overlay-base64=L2ltZy9zdGF0aWMvb3ZlcmxheXMvdGctcmV2aWV3LTUucG5n&enable=upscale&s=13b75d2a67846ff6527d5b0ae15d5c39" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[The Secret Bookshelf Hack That Makes Your Home Look Instantly More Lived-In]]></title> <link>https://www.designremotejobs.com/article/the-secret-bookshelf-hack-that-makes-your-home-look-instantly-more-lived-in</link> <guid>the-secret-bookshelf-hack-that-makes-your-home-look-instantly-more-lived-in</guid> <pubDate>Mon, 23 Mar 2026 19:00:25 GMT</pubDate> <description>< *Andrea Zanatelli and Kenny Spooren's library is filled with pieces that tell a story. From the many books that adorn the bookshelves to the ceramic plates and vintage prints, it's a lesson in decorating with all your favorite things.* **Andrea Zanatelli** and his partner Kenny Spooren decorated their library bookcase with vintage art and ceramics collected over the years. Andrea explains, "The library is really the center of the apartment I share with my partner, Kenny Spooren. We both collect a lot of things—books, small objects, textiles, and artworks—so the shelves are always evolving. Hanging a piece in front of the bookcase felt very natural to me because **layering is also at the core of my own artistic practice**. In my work, I combine fragments, references, and textures to create a single image, and in a way, the library works the same way: books, objects, and artworks slowly build a visual story together." Andrea continues, "I like that the artwork doesn’t exist in isolation but becomes part of the environment around it. The shelves create depth and allow the piece to interact with the books and objects nearby, which makes the whole composition feel more alive. In a relatively small apartment, it’s also a **practical way to keep adding to our collections** while still giving the artwork a prominent place. It turns the bookcase into a kind of evolving backdrop, almost like a living collage."  *Interior designer Joshua Smith teaches us a lesson in good styling with this eclectic bookcase filled with effortlessly stacked books, artisanal trinkets, and a vintage print at its center.* A small vintage print crowns the well-styled bookcase in this living room designed by **Joshua Smith**. A collection of unique objects and books sits on its shelves, while the artwork is the finishing touch that completes the eclectic display. Joshua explains more about the bookshelf trend. "Bookshelves can get visually busy, so hanging a piece in front of them is a nice way to **create a focal point** and give the eye somewhere to land. The print itself—an antique black and white scene of a New York fishing port in a beautifully aged wooden frame—has a quiet, historic quality that felt right at home in the library." He adds, "When art is hung on a plain wall, it tends to read as one flat layer. Placing it in front of a bookcase adds dimension, and the books and objects behind it create a natural backdrop that gives the piece more presence. In this case, the antique frame and the monochrome print worked especially well against the warmth of the shelves. It makes the artwork feel **integrated into the room** rather than set apart from it, almost like it’s part of the library itself." The key to styling a bookshelf is treating it as a focal point rather than purely functional, Joshua explains. "I like treating bookshelves as part of the overall composition rather than just storage. Letting the artwork sit slightly in front of the books and objects adds a bit of depth and makes the whole arrangement feel more **layered and collected**."  *A sophisticated living room designed by Kipling House is layered with heritage prints and antique details, while the built-in bookcase mounted with a scenic 'canvas' sits proudly at the center of the space.* It's hard to believe that the idyllic painted scene that sits at the center of this living room's built-in bookcase isn't a painting at all. Krysta Gibbons, founder of **Kipling House Interiors**, says, "We often hang artwork—or in this case a television emulating artwork—on the face of bookshelves. This unexpected application adds depth to an elevation and layers of texture and color. We particularly love this layered look as it is not your average application and keeps the eye searching for more." The 'painting', in fact, stylishly hides a TV. Krysta explains, "I chose to hang the television emulating art on bookshelves because I love the installation so much. These Smart TVs are so successful at fooling guests into thinking it’s art—but even more so when we hang the TV 'like art' on a bookshelf versus just on a wall. The chairs were designed to barely clear the TV, so when entertaining, the TV/Art is just a backdrop, but on Friday movie nights, it steals focus."  *The colorful books and vintage keepsakes bring this moss-painted bookcase designed by C&M Interiors to life, whilst the antique print is the finishing touch that completes the display.* ## Bookshelf Ready Buys Bringing dimension and depth that transform a simple arrangement into a design moment, interior designers have long loved this inspired way of decorating with art. Hanging art in front of a bookshelf adds a layer of story, encouraging the eye to take in the display.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>interiordesign</category> <category>bookshelf</category> <category>homestyling</category> <category>artdisplay</category> <category>decor</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/nUWaktLymMFhCvbKrSSuoe-1600-80.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Meta's Metaverse Meltdown: Why Facebook's Rebrand Now Looks Like a Billion-Dollar Blunder]]></title> <link>https://www.designremotejobs.com/article/metas-metaverse-meltdown-why-facebooks-rebrand-now-looks-like-a-billion-dollar-blunder</link> <guid>metas-metaverse-meltdown-why-facebooks-rebrand-now-looks-like-a-billion-dollar-blunder</guid> <pubDate>Fri, 20 Mar 2026 19:00:23 GMT</pubDate> <description>< *(Image credit: Meta)* ## The Beginning of the End for Horizon Worlds As reported by CNBC, the company is shutting down its VR platform **Horizon Worlds** in a **"further pivot away from the metaverse."** In a community blog, Meta announced that the Horizon Worlds app will be taken off the Quest store at the end of March and fully removed from VR on June 15.  *Facebook's metaverse avatars were routinely mocked (Image credit: Meta)* ## Reality Labs Layoffs Signal Deeper Problems Back in January, as reported by Wall Street Journal, Meta laid off **10% of its Reality Labs division**, representing around 1,500 jobs. Reality Labs is the home of Meta's AR and VR divisions. Zuckerberg's vision for the Metaverse has already faced ridicule from a design perspective, with **rudimentary graphics** and **missing legs**. But the laying off of over 1,000 staff from the metaverse division is a much more stark and serious sign that Zuckerberg's 2021 vision might not be the future.  *Facebook's Meta rebrand suddenly doesn't look so smart (Image credit: Meta)* ## The Official Shift in Strategy "We said last month that we were shifting some of our investment from Metaverse toward Wearables," a Meta spokesman told WSJ. "This is part of that effort."  *Zuckerberg once thought this was the future (Image credit: Meta/Mark Zuckerberg)* ## The Original Vision vs. Today's Reality Meta might have perfectly valid reasons for shifting investment, but it can't scrub its 2021 messaging from the history books. **"The metaverse will eventually encompass work, entertainment, and everything in between,"** the company announced when unveiling its rebrand. Back then, Meta announced **$10B of investment** into Reality Labs. All of which is to say, with the benefit of hindsight, that rebrand isn't looking so smart anymore. Still, to be fair, few knew in 2021 what the tech landscape would look like today—the likes of NFTs looked like they could change everything, along with the metaverse. But five years later, it looks like Facebook might have been better off changing its name to **'AI'**.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>meta</category> <category>rebranding</category> <category>metaverse</category> <category>vr</category> <category>design</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/A3NErUcTU8WM5SbNVYPB2X-1920-80.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Designing Beyond Sight: How a Blind CEO Inspired a Revolutionary Brand Identity]]></title> <link>https://www.designremotejobs.com/article/designing-beyond-sight-how-a-blind-ceo-inspired-a-revolutionary-brand-identity</link> <guid>designing-beyond-sight-how-a-blind-ceo-inspired-a-revolutionary-brand-identity</guid> <pubDate>Wed, 18 Mar 2026 19:00:26 GMT</pubDate> <description>< *(Image credit: Onvero/Something Familiar)* Accessibility is often overlooked in **graphic design**, but creative studio **Something Familiar** embraced this challenge head-on. Creative director Kane Hawkins shared insights about the tensions and lessons learned from this groundbreaking project. ## Rethinking "Industry Standards" For the Something Familiar team, the project began by placing **inclusivity at the core** of their thought process. "The biggest surprise was realizing how much of what we considered 'industry standard' simply wasn't accessible enough," Kane explains. "We had assumptions baked into our process – everything from the way we present concepts, to the tools we use, how we share work and even how we describe colors. Working with Sandi's team exposed those gaps quickly. We asked, listened, and iterated far more than usual. It was humbling, but this transparency made the work better," he says.  *(Image credit: Onvero/Something Familiar)* ## A Complete Mindset Shift Working with Sandi Wassmer brought a complete change of mindset. "It made us think much more carefully about how subjective and exclusive visual-first communication can be," Kane explains. "Sandi's needs influenced us to fundamentally change that communication, especially in the early stages of the project." "Without being able to solely rely on visuals through ideation, we had to slow down and describe our ideas more clearly. Our individual interpretations of design were vastly different based on our own experiences, so we used tools and tactics to build a shared language around how we were beginning to shape the brand identity – from naming colors collectively, to crafting voice-overs for conceptual work."  *(Image credit: Onvero/Something Familiar)* ## Tactile Design and Sensory Experience Built with inclusion at its core, **Onvero's new identity embraces tactile design** with embossed and die-cut brand stationery. The logo was created to be easily drawn on the hand (and has since been 3D printed as a gift to the team), translating the design to those with visual impairment.  *(Image credit: Onvero/Something Familiar)* Paired with sensory-friendly presentations and the **accessibility-focused typeface Lexend**, the design is "rethought for an experience beyond sight." "Tactility is encouraged where accessible, like the business cards. The color descriptions were built through AI so that a color wasn't just a hex code, but something you could communicate and imagine. None of those things exists in isolation – together they made a brand that works in a completely different dimension to most of the work our industry produces," Kane explains.  *(Image credit: Onvero/Something Familiar)* ## Key Lessons for the Design Industry When asked what lessons were learned from the project, Kane reflected, **"Accessibility has to be part of the conversation from day one, not a tickbox exercise towards the end stages of delivery."** "Every design decision we made on this project, from the form of the logo to the typeface, to the color palette, was shaped by accessibility requirements, and it never held us back. In fact, it made every choice more intentional. Since building the brand alongside the Onvero team, we've continued to have these conversations with other partners as early as the proposal stage, rather than leaving it to the delivery stage," Kane concludes.  *(Image credit: Onvero/Something Familiar)*]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>inclusivedesign</category> <category>accessibility</category> <category>brandidentity</category> <category>graphicdesign</category> <category>tactiledesign</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/SLYSddzRJpbH2M7MaSmYbF-2560-80.png" length="0" type="image/png"/> </item> <item> <title><![CDATA[Under Armour vs. Indie Brand: A Logo Dispute That's Shaking the Design World]]></title> <link>https://www.designremotejobs.com/article/under-armour-vs-indie-brand-a-logo-dispute-thats-shaking-the-design-world</link> <guid>under-armour-vs-indie-brand-a-logo-dispute-thats-shaking-the-design-world</guid> <pubDate>Mon, 16 Mar 2026 19:00:25 GMT</pubDate> <description>< *Image credit: Under Armour*]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>logo</category> <category>trademark</category> <category>design</category> <category>business</category> <category>legal</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/rbbtiyUMMMcgYKoEVn73tJ-1920-80.jpg" length="0" type="image/jpg"/> </item> </channel> </rss>