<?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>Mon, 20 Apr 2026 11:48:35 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[Unveiling the Hisense U7SG TV: A Midrange Marvel with Surprising Quirks and Premium Upgrades]]></title> <link>https://www.designremotejobs.com/article/unveiling-the-hisense-u7sg-tv-a-midrange-marvel-with-surprising-quirks-and-premium-upgrades</link> <guid>unveiling-the-hisense-u7sg-tv-a-midrange-marvel-with-surprising-quirks-and-premium-upgrades</guid> <pubDate>Sun, 19 Apr 2026 18:00:27 GMT</pubDate> <description>< The base plate of the U7SG’s rugged new stand is *heavy*. It adds 10 pounds to the 43.2-pound, 65-inch U7SG I reviewed, and the six-screw assembly takes more patience than last year’s U75QG. But its sturdy hold and clean industrial look are worth it. I was also impressed to see a new, matte-like anti-reflective screen up front, and at the back, two different woofers for solid sound quality, even if I’d prefer a soundbar or speaker system in most scenarios. Normally, setting up the U7’s Google TV interface would make up for some lost time, but the new Google TV app is less reliable (and more ad-packed) than the old Home app. It simply wouldn’t connect the TV to my phone, so I had to do most of the clicking from its long-wand remote. Even so, I had the system up and running in under 10 minutes, and after adding my G Suite credentials, I was able to access favorites like using my Google Photos as screen savers. App aside, Hisense’s Google TV skin has continued to improve, and this might be the swiftest version I’ve tested yet. The response is quick, and it’s easy to grab and arrange all your favorite apps, especially if you’ve already used Google TV in the past. Apart from one odd moment where the TV couldn’t find my network, I had zero streaming flubs over weeks. ## Picture Mode Pointers  Setting up the picture modes takes a bit more time, and not just because Hisense supports every major flavor of **HDR (high dynamic range)**, including the basic HDR10, and the fancier HDR10+ and Dolby Vision formats to showcase the brightest and darkest onscreen images. Film-forward modes like Theater Night, Theater Day, and Filmmaker are your best bets for an accurate picture. I used Filmmaker for older SDR (standard dynamic range) video with a slight boost to the backlight. (You can brighten things further with the Peak Brightness setting.) I used the same mode for HDR10 and HDR10+, though here’s where I found the TV’s first picture oddities. Local Dimming, which is designed to reduce backlight bleed around bright objects on dark backgrounds, is set to High by default. That looks good in most scenes, but it can create a strange highlight around images on gray backgrounds. If you’re seeing this effect, set Local Dimming to Low to fix it. Another bizarre issue came with the U7SG’s Dynamic Tone Mapping in HDR10. The common setting is generally designed to adjust your TV’s capabilities to HDR video in real time. Hisense sets it to “Details Preferred” by default. It's meant to optimize brightness and contrast on a frame-by-frame basis, but it made my *Mad Max: Fury Road* 4K Blu-ray look stiff and stilted—almost like it was animated, and not live action. It’s easy enough to turn off, but it's something that a videophile would definitely notice.   There's no such issue for Dolby Vision, the most prominent HDR format for streaming video. I recommend Dolby Vision Dark for most content, or Dolby Vision IQ for particularly dark scenes, though you’ll want to turn off the motion smoothing under Clarity. This year’s U7 is once again primed for gaming fans, with a high variable refresh rate (VRR) of up to 165 Hz at 4K resolution. That’s enough to eliminate jerky motion in fast-paced games with gaming PCs, and more than enough for more casual gamers with a PS5, like me. Games look impressive by default, and you can adjust multiple settings on the fly with the gaming bar. Best of all, you don’t have to worry about running out of ports, thanks to support for the latest gaming features across all four HDMI ports. ## Measured Brightness  Even as I’ve gotten spoiled by the quality of modern budget TVs, mainly from Hisense and fellow Chinese rival TCL, the U7SG can dazzle when it wants to, especially with high-quality videos. Its clarity has improved this year—you can really see Maui’s intricately dimpled skin in *Moana* as the film zooms in on his tattoos. Colors can look a little bland in basic fare like sitcoms, but they really pop in HDR shows and movies, from *Moana’s* violet sunsets to the aqua-backed coral gardens of Netflix’s *Our Planet* or the stark blues and yellows that define *Mad Max: Fury Road*. Unlike previous years in what TV nerds like me call the “brightness wars,” the U7SG doesn’t outblast its predecessor, but it's not a problem. It gets around three times as bright as anything you can stream (which is naturally capped due to compression), and has enough firepower for all but the flashiest 4K HDR Blu-rays. Its color processing shows a little more restraint than in previous models. It's not quite what I'd call “accurate to the director’s intent,” like the best TVs I test, but it does keep itself from blasting your eyeballs most of the time. The high brightness is matched by deep black levels, without much of the “blooming” or “haloing” around bright objects that can dilute the contrast of many budget-friendly TVs. It’s not as striking as OLED TVs, which can control each of their millions of pixels on demand, but it’ll wow you in deep space scenes just the same. I was pleased that the TV’s odd local dimming issue didn’t crop up in real-world content, but the picture does tend to flatten shadows in dark scenes more than expected, even as the matte-like screen does a good job keeping reflections at bay.  There are some other notable flaws. Moving off to the TV’s side in my easy chair led to dimmer colors, washed-out contrast between the brightest and darkest images, and uneven backlighting, aka the “dirty-screen effect.” That stood out most in the green backdrop of the Masters on Sunday as Rory McIlroy held on for the win. It wasn't an issue when viewing head-on, but even then, I noticed some dingy yellow lines along the screen's left and right sides with light backgrounds. (I may not have noticed them much if I hadn't been bombarding this TV with test content first.) The U7SG still doesn't feel quite like a premium model. But it's a very clear, bright TV, and will feel more like it's worth the money once RGB shows up on other Hisense models and the price on this one drops. If you want something brighter than a similarly priced OLED like the LG B5, the U7 is a great buy and has a few good upgrades over last year's U75QG. We’ll know more about the 2026 TV landscape once the new RGB TVs have landed, but if you need a powerful, classy-looking TV before then, the U7SG should be on your list.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>hisense</category> <category>tvreview</category> <category>miniled</category> <category>gaming</category> <category>homeentertainment</category> <enclosure url="https://media.wired.com/photos/69e2ea95baaff09c6d99fd7a/191:100/w_1280,c_limit/Review--Hisense-U7SG-TV-(2026).jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Why This New Animated Charlie & the Chocolate Factory Could Be a Game-Changer for Designers]]></title> <link>https://www.designremotejobs.com/article/why-this-new-animated-charlie-the-chocolate-factory-could-be-a-game-changer-for-designers</link> <guid>why-this-new-animated-charlie-the-chocolate-factory-could-be-a-game-changer-for-designers</guid> <pubDate>Sat, 18 Apr 2026 18:00:36 GMT</pubDate> <description>< *Can Sony repeat the critical and commercial success of KPop Demon Hunters with its new Wonka movie? (Image credit: Sony Pictures Imageworks)* All of which suggests this isn't a cynical brand exercise, but a **bold creative bet**. Backed by a studio that consistently makes animation that's visually distinctive, emotionally resonant, and culturally current. ## 2. It's a Totally New Story Secondly, Netflix isn't retreading the original plot. In fact, the premise sounds pretty inventive. **Willy Wonka** has spent years in prison for turning a child into a blueberry. On release, he returns to his factory, only to find himself up against teenager **Charlie Paley**, who, facing eviction with his friends, plots to break in and steal a priceless Wonka Bar. It's a new story that uses the existing world as a launchpad rather than a crutch. And the shift to modern-day London will hopefully give it the kind of grounded energy that – like with **KPop Demon Hunters** – can anchor the fantastical elements appropriately. ## 3. The First Still Is Luring Me In Thirdly, Netflix has to date shared just one image, shown above – but to my eye, it looks fantastic. A lone figure, lollipop in hand, stands on a rooftop looking out over an unmistakably real London skyline, the Gherkin clearly visible among the towers. Planted in the middle distance is the **Wonka factory**, its chimneys pumping vivid rainbow smoke into the clouds, a neon sign glowing against a stained-glass facade wrapped in candy-cane poles. In one frame, then, you get the whole tonal promise of the film. The ordinary world and the fantastical one sitting side by side, with the tension between them doing exactly what good **visual storytelling** should. The brief for any successful IP expansion is, of course, almost impossibly difficult. Remain true to the spirit, imagine something new. But who knows, maybe they'll pull it off? Either way, **Charlie vs. the Chocolate Factory** arrives on Netflix in 2027 and I'll certainly be watching. If you're a **KPDH fan, grab the free ebook here** – and if you want to make your own animation, see our laptops for animation guide.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>animation</category> <category>design</category> <category>sony</category> <category>netflix</category> <category>storytelling</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/V64Ap24HHNZYz3xqvMcXin-1280-80.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[The Hidden Design Struggle Behind Star Trek's Iconic Starship Enterprise]]></title> <link>https://www.designremotejobs.com/article/the-hidden-design-struggle-behind-star-treks-iconic-starship-enterprise</link> <guid>the-hidden-design-struggle-behind-star-treks-iconic-starship-enterprise</guid> <pubDate>Fri, 17 Apr 2026 18:00:28 GMT</pubDate> <description>< *Brendanhunter/Getty Images* The task of getting the Enterprise off its launchpad fell to the show's art director, **Walter Matthew "Matt" Jefferies**, who had a few rules to follow per Gene Roddenberry, **Star Trek's creator and sci-fi show extraordinaire**. The most important being that the ship not looking like a flying saucer. In a 2000 interview with Star Trek: The Magazine (via Starship Concept Art), Jefferies recalled the demands of bringing the most beloved vessel in all of Starfleet to life. "He had emphasized that there were to be **no fins, no wings, no smoke trails, no flames, no rockets**." From there, Jefferies recalled churning out hundreds of designs that Roddenberry would use to cherry-pick his favorite parts. "Gene liked a piece of this and a piece of that and a piece of something else, so I tried to see what I could do with the pieces." ## The Enterprise started out with a ball shape  *Gabe Ginsberg/Getty Images* Jefferies would ultimately settle on a design that was almost perfect, though there was no shortage of frustration in the nearly month-long process. One aspect that had a heavy influence on the Enterprise design was **propulsion**. As Jefferies noted, "...because of the ship's speed, there had to be terrifically powerful engines. They might be dangerous to be around, so maybe we'd better put them out of the way somewhere." Then there was the issue of the hull for Jefferies to deal with. During a time when shiny metal discs seemed to fill the skies in science fiction, the designer insisted the Enterprise wouldn't be among them — and it wasn't. Sort of. "...for the hull, I didn't really want a saucer because of the term 'flying saucer,' and the best pressure vessel, of course, is a ball, so I started playing with that." Eventually, though, Jefferies gave in to what we ended up with. "..the bulk got in the way, and the ball just didn't work. I flattened it out, and I guess we wound up with a saucer!" While it's clear that the saucer shape was integrated into the Enterprise's design, everything surrounding it would distinguish it not just from other sci-fi starships of that era, but long after **Star Trek legends had been sent into space themselves**. In its mission to explore strange new worlds, the Enterprise deviated from tradition and found itself light years ahead of others as a result.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>startrek</category> <category>designhistory</category> <category>scifi</category> <category>iconicdesign</category> <category>spaceship</category> <enclosure url="https://www.bgr.com/img/gallery/the-design-issue-star-treks-starship-enterprise-could-never-escape/l-intro-1776180572.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Designers Are Furious: Esquire's Controversial Magazine Cover Sparks Heated Debate]]></title> <link>https://www.designremotejobs.com/article/designers-are-furious-esquires-controversial-magazine-cover-sparks-heated-debate</link> <guid>designers-are-furious-esquires-controversial-magazine-cover-sparks-heated-debate</guid> <pubDate>Tue, 14 Apr 2026 18:00:29 GMT</pubDate> <description>< *(Image credit: Esquire)* The spring 'Mavericks of Sports' edition features NFL star Fernando Mendoza sitting in a locker room, rocking an undone suit and large duster jacket. While the conventional imagery and breezy blue-and-white colour palette give the design a clean feel, there's one specific detail that had graphic designers up in arms: **the typesetting**. "This makes me irrationally mad in so many ways," a user on the r/graphic_design subreddit wrote, alongside an image of the controversial cover. "Anti-design and leaving big rivers between words like this is quite on trend right now," another user offered, while one user countered, "Anti-design in Esquire makes about as much sense as bananas in a lasagna." The backlash raged on with one user commenting, "Breaking design rules is fine if you know what you’re doing, but there’s a special place in design hell for whoever micro-managed this abomination." Another wrote, "I kind of see what they were trying to do — punchy, stately, dramatic. But very poorly executed. Such a shame," while one user joked, "Even the type is manspreading." For more magazine cover stories, check out why Timothée Chalamet’s bizarre Vogue cover exposes a much bigger issue or take a look at The New Yorker cover that was a huge slap in the face for censorship.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>graphicdesign</category> <category>magazinecover</category> <category>typography</category> <category>designtrends</category> <category>controversy</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/YGf6kZGeG6bMYKonAYCecm-1920-80.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Unlock Your Photography Potential: How Design Principles Transform Your Images]]></title> <link>https://www.designremotejobs.com/article/unlock-your-photography-potential-how-design-principles-transform-your-images</link> <guid>unlock-your-photography-potential-how-design-principles-transform-your-images</guid> <pubDate>Sun, 12 Apr 2026 18:00:26 GMT</pubDate> <description>< It was in the late 1800s that Western art education began moving away from storytelling and symbolism toward formal qualities, as seen in movements such as Post-Impressionism, Art Nouveau, and Arts and Crafts; when shape, line, balance, rhythm, and proportion became more important. This is the key moment for these design principles as we understand them now. They emerged with the Bauhaus school, where Johannes Itten, Paul Klee, Wassily Kandinsky, and Josef Albers developed and taught them. The principles apply to all visual arts, including photography. Getting to grips with them helps us recognize better compositions when we hold our cameras to our eyes. Knowing about them helps us create more appealing photos.  ## Visual Weight To understand the principles of design, one must first appreciate the concept of **visual weight**. Visual weight is not about physical mass. Instead, it’s the perceived heaviness or importance of an element in a composition. In other words, it’s how strongly it attracts the viewer’s eye compared to other elements. So, although a large subject can carry a lot of visual weight, it can be balanced by a person, as our eyes are drawn to people, especially to eyes. Similarly, the drawing power of that large object could be outweighed by a smaller splash of bright color.  ## The Principles of Design The following are the design principles. As you will see, some of them overlap. Furthermore, they are rarely seen alone, although a composition need not use all of them. Moreover, you might even choose to reject a principle altogether. Like all rules in photography, design principles should guide your decisions rather than dictate them.  ### Emphasis Using this principle creates a **focal point** in a design. It helps to highlight the most important elements, guiding the viewer’s attention. Techniques include using contrasting colors, textures, sizes, and placements to make certain elements stand out. For example, in wildlife photography, we generally try to isolate a subject by separating it from the background. Taking the above photo as an example, the subject is emphasized with a long lens and a wide aperture, both of which produce a shallow depth of field. The low angle of view also makes the background farther away and smoother. Thus, the subject is emphasized because it is separated from its surroundings by the change in texture, contrast, and color. If you compare that with the following less appealing photo taken moments later, where the emphasis of the subject is lessened by its busier surroundings, emphasized by the higher camera position and the shorter focal length.  ### Balance **Balance** is how visual weight is distributed in an image. Often found using symmetry, it equalizes the weight on both sides of the picture.  However, balance can also be asymmetrical with different visual weights positioned within the frame that still create a sense of harmony. Achieving balance is crucial for creating stability in a design, whereas imbalance can provide tension, which can be important in some photos. The following image is balanced by its symmetry. But it also has an imbalance because it is top-heavy. Moreover, the flying geese are more to the right of the frame, and the smaller distant island on the left does not do enough to balance them.  ### Contrast **Contrast** uses opposing elements, such as light and dark colors, smooth and rough surfaces, small and large subjects, or any other pair of visual antonyms you can think of. Contrast creates visual interest by drawing attention and helping differentiate elements within the frame.  ### Repetition **Repetition** is the appearance of similar elements throughout a photograph. It creates consistency in an image. Repetition can be applied to colors, shapes, or patterns to reinforce a photograph’s overall theme. In the photo below, note the repeating patterns of the old, rotten pier and how the shape of the cormorant breaks the pattern.  ### Proportion **Proportion** refers to the relative size of a design’s elements. Helping to create a sense of scale, it influences how the viewer perceives the overall composition of a photograph.  ### Movement In this context, **movement** is how the image guides the viewer’s eye through the photo. It can lead the viewer from one element to another through the arrangement of elements, lines, or shapes that create a visual path. Although the following image is ostensibly still, the lines of the pier and, to a lesser extent, the reflections in the water lead the eye to the beacons at the end of the pier.  ### White Space It doesn’t have to be white. Also known as **negative space**, white space is the area around and between elements in a photo. It also helps to create breathing room and emphasize important components within the image. In the photo below, and a few of the images here, I have used white space to emphasize the subject.  ### Variety  **Variety** is the use of differences and contrasts within an image. It creates visual interest. Sometimes, without variety, a picture might feel boring, flat, or repetitive. It is achieved through changes in color, size, shape, texture, tone, and detail. Compare the image above with the following one. The first depicts patterns in the sand left by the receding tide. Although it was interesting to see, the picture itself was boring. It really needed something to interrupt the pattern.  So, this next image is still fairly mundane, but the variety of patterns makes the picture more interesting.  ### Unity **Unity** is the sense that all the parts of your work belong together. When it has unity, it feels whole, organized, and harmonious rather than random or chaotic.  ## Elements of Design Often confused with those principles are the **elements of design**. Where the principles are akin to the grammar of a sentence, the elements are the words. Or, the principles could be the method of making a cake, and the elements the ingredients. In other words, the elements are the basic building blocks of an image. They consist of lines, shapes, form (three-dimensional shapes), color, value (brightness), texture, and space. ## Practical Uses  In reality, when we hold our cameras to our eyes, we are not going to think about these principles and elements. Nevertheless, they are worth studying and considering when we look at our own and others’ photos. In that way, the ideas behind them become ingrained in our minds, and we will subconsciously apply them when we align our lenses with our subjects. Like always, this article only touches on the surface of these topics, and I’ll be coming back to them in more depth in future articles.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>photography</category> <category>design</category> <category>composition</category> <category>visualarts</category> <category>principles</category> <enclosure url="https://petapixel.com/assets/uploads/2026/04/turnstone.jpg" length="0" type="image/jpg"/> </item> </channel> </rss>