<?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>Sat, 24 Jan 2026 01:34:17 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[Inside the Quake Brutalist Game Jam: Where Concrete Architecture Meets Retro Gaming Revolution]]></title> <link>https://www.designremotejobs.com/article/inside-the-quake-brutalist-game-jam-where-concrete-architecture-meets-retro-gaming-revolution</link> <guid>inside-the-quake-brutalist-game-jam-where-concrete-architecture-meets-retro-gaming-revolution</guid> <pubDate>Thu, 22 Jan 2026 19:00:36 GMT</pubDate> <description>< *‘Brutalism won by a wide margin’ … Quake Brutalist Game Jam. Photograph: id Software* Ben Hale is the event’s concierge, a professional game developer working as senior environment artist on the forthcoming survival game Subnautica 2. As a child, Hale learned to build Quake levels with the encouragement of his older brother. “He was very supportive, despite how often I bluescreened his computer,” Hale recalls. The idea for a brutalism-themed “jam” – a hobbyist term for an intensive, community game development session that takes place over several days or weeks – came from another Quake mapper named Benoit Stordeur, inspired by a set of concrete textures Hale designed for Quake. “I posted a poll [of themes] for the community to vote on, with brutalism as a choice. **Brutalism won by a wide margin**,” Hale says. The first Quake Brutalist Jam captured the community’s imagination, with participants producing 35 levels in two-and-a-half weeks using Hale’s concrete textures. In a game that already features oppressive gothic and industrial environments, the moody stylings of brutalism proved powerful creative fuel. “So many brutalist buildings look like cool sci-fi structures or evil lairs,” Hale says. The second jam ran in 2023, spawning 30 more proudly grey levels for players to blast through. But as he began planning a third jam, Hale ran into some health issues. “I pitched to my friend, Fairweather, to be my cohost this year,” Hale says. “They made the suggestion that we do something a little different this time.”  *‘Ideas began to grow’ … Quake Brutalist Game Jam. Photograph: id Software* Fairweather is Lain Fleming, a veteran modder who has led numerous community Quake projects including Dwell, Remix Jam and the Coffee Quake series. Rather than simply make new levels for Quake, Fleming suggested giving the Jam’s participants some new tools to work with. “When we began, we simply wanted to visually overhaul some weapons and monsters. But as we did more and more, ideas began to grow,” Fleming says. “We analysed mechanical gaps in the arsenal and enemies, which resulted in many new enemy paradigms you rarely see in Quake.” This type of mod, known as a **total conversion**, proved far more ambitious than Hale or Fleming anticipated. “What was supposed to be a quick six-month mod to host a jam in became a two-year monstrosity. The list of people contributing grew bigger over time, with a team of about 15 near the end,” Hale says. Despite the challenges, the team ultimately produced an almost entirely new toolset for Quake. Virtually every available weapon is new or heavily modified, including a shotgun with bouncing projectiles, a gun that launches iron rebars, and a cluster-missile launcher. Enemies, meanwhile, mix redesigned Quake staples with entirely new foes. The overhaul proved hugely successful. Quake Brutalist Jam 3 had more than double the number of participants for previous jams – so many that Hale had to radically alter his plans for the Start map, the playable mission-select screen that’s something of a Quake tradition. “I opted for a museum or gallery approach,” Hale says. “We had to pack the maps very tightly, which I struggled with a lot.” The range of levels contributed by the community is enormous. There are quickfire experiments that last a matter of minutes, high-intensity “slaughtermaps” designed to test player reflexes, ambitious, narrative-driven exploration levels that pay tribute to the form and shape of virtual architecture, and gargantuan gun-fests that last an hour or longer.  *‘Doubts would lead to slower progress’ … Mazu’s Quake Brutalist level. Photograph: id Software* Indeed, the featured map, Escape from KOE-37, is almost a game in its own right – an epic three-hour affair heavily inspired by Half-Life with its own storyline and more than 1,000 enemies to fight. Its creator, who goes by the online handle Mazu, is a veteran of the Quake mapping community who spent about 400 hours building it. “Environmental puzzles and set-pieces are just really fun to do. [I] really wanted to have interactive environments for players to explore,” he says. “I just allow my creativity to put ideas into my map without axing too many of them. Doubts would lead to slower progress.” Maps such as KOE-37 highlight the remarkable work that community members have been doing for years in a space that professional game design has long since abdicated. Once the most popular genre around, linear, single-player first-person shooters have become relatively rare in mainstream game development, pushed to one side in favour of sprawling open worlds and multiplayer experiences. As such, the particular level design that games like Doom and Quake specialise in – complex 3D mazes where navigation is as much a part of the challenge as combat – is at risk of becoming a lost art. Yet events such as QBJ3, alongside other Quake mods such as Arcane Dimensions and The Immortal Lock are not only keeping this style of virtual architecture alive, they often surpass the achievements of the old masters, twisting and warping and spooling out 3D geometry in ways that wouldn’t have been possible 30 years ago: “With these games, you have such a rich, decades-long history of levels to play that you can refine your own designs to a razor’s edge,” Fleming says.  *‘Everyone shows off’ … from Robert Yang’s contribution. Photograph: id Software* Quake Brutalist Jam 3 isn’t just for hardcore Quake fans and shooter addicts. This year’s Start map has a section dedicated to newcomers with little to no mapping experience. At the other end of the spectrum, it has also seen contributions from industry professionals such as game designer and former teacher at New York University’s Game Centre, Robert Yang. “It’s the underground Met Gala of concrete murderzone design, the biggest event on the Quake calendar,” Yang says. “Everyone shows off, everyone nurtures the new faces, everybody eats. I love it.” For his contribution, One Need Not Be a House, Yang created an open-ended map that, were it not for all the heavily armed soldiers milling about, wouldn’t look out of place in an adventure game like Myst. “My map started as a study of the architect Louis Kahn’s ‘brick brutalism masterpieces – the National Assembly complex in Dhaka, Bangladesh, and the Indian Institute of Management in Ahmedabad [in India],” he says. Open-ended levels can be tricky, and highly unusual for a Quake map. To help solve this problem, Yang looked to one of the most famous levels from Halo: Combat Evolved – The Silent Cartographer. “I wanted to make a similar non-linear map but with many branching paths, so you can mix and match your own route, get powerups out of order, and feel like you’re getting away with something.” Yang says he doesn’t particularly like playing Quake as a shooter, but he admires how Quake Brutalist Jam 3 hints at a potential alternative way of making games, one that is driven by community rather than profit. “Brutalism, especially in the UK, is about building for the public. You don’t need to add beautiful ornaments because building and nurturing the future is already beautiful,” he says. “And that’s what Quake Brutalism is about too, a socialist utopia where handcrafted video games are a free public good that brings people together.” It may not be long before Hale, along with Fleming and the other organisers, put such an idea into practice. Their next planned project is their own video game, one that’s fully independent of id Software’s shooter. “After this jam, we’re taking a bit of a break from modding and mapping for Quake,” Hale concludes. “We love the community and the continuous celebration of each other’s work and aren’t going anywhere. But also, we want to just make a game. We’ve been wanting to do that for so long it’s starting to hurt.”]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>gamedesign</category> <category>brutalism</category> <category>quake</category> <category>leveldesign</category> <category>community</category> <enclosure url="https://i.guim.co.uk/img/media/85c428556fd76de39374549c9e55873747895d8b/649_0_2700_2160/master/2700.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=L2ltZy9zdGF0aWMvb3ZlcmxheXMvdGctZGVmYXVsdC5wbmc&enable=upscale&s=5c3c2f20b49f0d092f622275bfa50d58" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[BIG's Stunning Colonnaded Factory for San Pellegrino Emerges in Italian Mountains]]></title> <link>https://www.designremotejobs.com/article/bigs-stunning-colonnaded-factory-for-san-pellegrino-emerges-in-italian-mountains</link> <guid>bigs-stunning-colonnaded-factory-for-san-pellegrino-emerges-in-italian-mountains</guid> <pubDate>Wed, 21 Jan 2026 19:00:30 GMT</pubDate> <description>< As seen in the latest photos, the **17,000-square-metre** San Pellegrino Flagship Factory will feature **tall concrete arches** that reimagine traditional Italian arcades, piazzas, and porticos. The design was selected ahead of entries from other prominent studios, including **MVRDV, Snøhetta, and Architetto Michele De Lucchi**. Originally expected to be completed in **2022** and featured on Dezeen's list of buildings to look forward to that year, the project has faced delays but is now making significant progress.  "Like the mineral water itself – the new San Pellegrino Factory and Experience Lab will seem to spring from its natural source," said **BIG founder Bjarke Ingels** when the project was first revealed. "We propose to wash away the traditional segregation between front and back of house, to create a seamless continuity between the environment of production and consumption, preparation and enjoyment." In a recent Instagram post sharing his own photos of the ongoing construction, Ingels described the building as **"the aquatic equivalent of a wine cellar."** Also visible in the photos is a **bridge** created as part of the project to provide access to the site, engraved with the text **S Pellegrino**.  **BIG**, founded by Ingels in Copenhagen in 2005, now has studios in New York, Barcelona, and London. The studio is also currently developing other notable projects, including the **Hamburg State Opera** and an **interfaith complex near Tirana**. *The photography is by SchirraGiraldi and the renders are courtesy of BIG.*]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>architecture</category> <category>design</category> <category>construction</category> <category>italy</category> <category>factory</category> <enclosure url="https://static.dezeen.com/uploads/2026/01/san-pellegrino-flagship-factory-big-construction-progress-italy_dezeen_2364_hero-852x479.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Inside Marathon's Design Evolution: How Bungie's Art Director Transformed a Generic Shooter into a Hero-Driven Experience]]></title> <link>https://www.designremotejobs.com/article/inside-marathons-design-evolution-how-bungies-art-director-transformed-a-generic-shooter-into-a-hero-driven-experience</link> <guid>inside-marathons-design-evolution-how-bungies-art-director-transformed-a-generic-shooter-into-a-hero-driven-experience</guid> <pubDate>Tue, 20 Jan 2026 19:00:29 GMT</pubDate> <description><![CDATA[## The Pivot That Changed Everything **Marathon** started as a hero extraction shooter, but it wasn't always that way. In a revealing interview, former franchise art director Joseph Cross detailed how the game underwent a **profound evolution midway through development** that fundamentally reshaped its visual psychology and gameplay identity. ## From Generic Mercenaries to Iconic Heroes Originally, *Marathon*'s player characters were designed as **generic throwaway mercenaries** that players could customize to fit their personal fantasy. This approach changed dramatically when the development team shifted to creating **actual characters with prescribed backstories, abilities, and unique visual identities**. Cross described this transformation using a powerful analogy: "You're going from designing one vehicle in a fleet of a thousand to now you're designing the Millennium Falcon. The psychology changes." This hero-focused approach has become a **crucial differentiator** for *Marathon*, setting it apart from genre rivals like *Arc Raiders* and *Escape from Tarkov*. However, it also places the game in a genre where some players are experiencing significant burnout. ## Art as the Primary Differentiator In the interview, Cross revealed that the art team recognized they had a unique responsibility: "I really did believe that art had potentially more of a responsibility for creating interest than it would if we were working on a different kind of game." He explained further: "The game design, nobody's reinventing the wheel here. We're putting compelling spins on established mechanics. The narrative is also not reinventing the wheel. It's an abandoned space colony where something mysterious happened. We've seen this a lot. It's about how you spin it, and at some point, for better or for worse, I told myself that this is an opportunity for art to sort of step up and provide a level of newness to this world." ## A Distinctive Visual Identity *Marathon*'s striking art style draws inspiration from diverse sources including **Nike sneaker culture and Ikea furniture assembly**. This unconventional approach aims to create a visual identity that stands out in a crowded market. ## Why Leave Before Launch? Cross recently departed Bungie just weeks before *Marathon*'s March 5 release date was finalized. His decision stemmed from being "an artist first and foremost" and growing awareness of the limited number of projects he'll work on in his lifetime. "I'm not a founder of Bungie," he explained. "This is not my company. And I'm conscious of the number of projects I get to work on in my life. I'm not getting any younger. I've spent what will ultimately be 15 years, essentially, on two projects for Bungie: *Destiny* and *Marathon*, with film work in between." He also acknowledged the challenges of senior leadership roles in live service games: "The natural cadence of the kind of work that happens post-launch in a live service game, I also understood what that was looking like. It's also true that at the level of seniority that I had, there are challenges there that don't necessarily exist as an artist."]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>gamedesign</category> <category>artdirection</category> <category>bungie</category> <category>marathon</category> <category>designprocess</category> <enclosure url="https://kotaku.com/app/uploads/2026/01/2026_Marathon_Weaponless_Press_Kit_Compressed_021-1200x675.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[The Hidden Pioneer: How Dorothy Waugh's National Parks Posters Revolutionized American Design]]></title> <link>https://www.designremotejobs.com/article/the-hidden-pioneer-how-dorothy-waughs-national-parks-posters-revolutionized-american-design</link> <guid>the-hidden-pioneer-how-dorothy-waughs-national-parks-posters-revolutionized-american-design</guid> <pubDate>Mon, 19 Jan 2026 19:00:25 GMT</pubDate> <description>< *Dorothy Waugh, ca. 1930. Courtesy of the Jones Library, Inc., Amherst, Massachusetts, via Poster House.* ## The 30-Year Quest to Uncover Her Story Resnick first spotted Waugh's work in the 1990s and was struck by its strong Modernist design that bucked conventions. Shocked to find almost no information about the artist, he embarked on a three-decade journey to uncover her story. Through extensive research across the National Archives, Library of Congress, Art Institute of Chicago, National Park Service, and the Jones Library in Amherst, Resnick pieced together Waugh's remarkable career.  *"The lure of the national parks" by Dorothy Waugh, 1937. Photo: Pierce Archive LLC/ Buyenlarge via Getty Images.* ## Redefining Government Design During the Great Depression President Franklin Delano Roosevelt believed National Parks were national treasures that could bolster Americans' shattered morale during the Great Depression. As Roosevelt declared 1934 National Parks Year, Waugh pushed to mount a poster campaign for the occasion—and the poster subsequently became a crucial tool of the Works Progress Administration (WPA) and the U.S. government. Waugh's lithographs represented a new strategy for the NPS, which had previously let railroads handle all advertising. Instead of straightforward depictions of scenic landscapes, Waugh chose images that spoke broadly to what National Parks offered—wildlife, winter sports, and outdoor activities.  *Dorothy Waugh, National Parks/Winter Sports (1935). Private collection. Courtesy of Poster House.* ## A Distinctly Modernist Approach Waugh's work was distinctly optimistic, using **bold color palettes**, **graphic shapes bordering on abstraction**, and **hand-drawn lettering with unique letterforms**. Her approach was informed by European Modernism but incorporated American iconography in the realm of commercial illustration. ## The Challenge of Preserving Ephemeral Art Though the NPS printed thousands of each poster, Waugh's designs were essentially ephemera, and many haven't survived. Tracking down all 17 posters—mostly from a single anonymous collector—was a major challenge. One design almost eluded Resnick until a friend recognized it from her Upstate New York country house. According to the Artnet Price Database, 35 of Waugh's posters have come to auction in the last 25 years, with her "Winter Sports" design selling for a record $2,922 at Christie's in 2008.  *Dorothy Waugh, National and State Parks (1936). Collection of Cathy M. Kaplan. Courtesy of Poster House.* ## A Renaissance Woman of Many Talents Waugh was "quite the Renaissance woman," Resnick said. After studying at the Art Institute for 10 years, she worked for the NPS as a landscape architect, following her father Frank Waugh into the field. She was hired as part of the New Deal's Civilian Conservation Corps, helping design new visitor facilities for parks. After leaving the NPS, Waugh founded and led Knopf's Books for Young Adults Division, worked for 25 years as head of public relations at the Montclair Public Library, and offered the first-ever typography course at what's now Parsons School of Design. She also moonlighted as a journalist, poet, radio personality, children's book author and illustrator, and published two scholarly books on Emily Dickinson—the last when she was 94 years old.  *Dorothy Waugh, National Parks/Where the Deer and the Antelope Play (1934). Private collection. Courtesy of Poster House.* ## Why Her Legacy Was Nearly Lost Resnick believes Waugh's longevity and versatility worked against her. She was largely forgotten by her death in 1996, single with no children or surviving family to safeguard her legacy. "She did her most public work early in her career. She was a commercial artist as much as anything else," Resnick explained. "Had she elected to just pursue a fine art or graphic design practice deeply for a whole career, she might well be a household name. But she wouldn't have been her." Instead, Waugh returned again and again to a seemingly bottomless well of creativity throughout her 99-year lifespan, working across mediums and fields. She never returned to poster design after leaving the NPS—but that body of work now provides the perfect entry point for revisiting her impressive career. *"Blazing a Trail: Dorothy Waugh's National Parks Posters" is on view at Poster House, 119 West 23rd Street, New York, New York, September 27, 2025–February 22, 2026.*]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>dorothywaugh</category> <category>nationalparks</category> <category>posterdesign</category> <category>designhistory</category> <category>modernism</category> <enclosure url="https://p-news-upload.storage.googleapis.com/2026/01/WAUGH_03.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[How a Sustainable Home in India Reimagines Ancient Tamil Architecture with Modern Flair]]></title> <link>https://www.designremotejobs.com/article/how-a-sustainable-home-in-india-reimagines-ancient-tamil-architecture-with-modern-flair</link> <guid>how-a-sustainable-home-in-india-reimagines-ancient-tamil-architecture-with-modern-flair</guid> <pubDate>Sun, 18 Jan 2026 19:00:32 GMT</pubDate> <description>< *Materiality is what defines this Coimbatore home, which harkens back to the Tamil architecture of centuries past.* **Reimagining Tradition Through Sustainability** This home, created for IT professional Vijayanadh and his wife Mahalakshmi, taps into the simplicity of Tamil architectural heritage. By employing **traditional building practices**, the design not only honors the past but also addresses modern environmental concerns. The use of **terraced roofs** and natural materials enhances energy efficiency and reduces the carbon footprint, making it a model for **eco-friendly living**. **Key Design Elements** The architecture firm focused on **materiality** as a defining feature, using locally sourced, sustainable resources to construct the home. This approach not only supports the local economy but also ensures that the building harmonizes with its surroundings. The **terraced roof design** is a standout element, providing both aesthetic appeal and practical benefits like improved ventilation and rainwater harvesting. **A Contemporary Lens on Heritage** By viewing Tamil architecture through a **contemporary lens**, Bhutha Earthen Architecture has created a space that feels both historic and forward-thinking. The home's layout and finishes are designed to maximize natural light and airflow, reducing reliance on artificial systems and promoting a **healthier indoor environment**. **Sustainability Without Sacrifice** One of the core principles of this project is that **sustainability does not mean sacrificing comfort**. The home features modern amenities and thoughtful details that ensure it meets the needs of its inhabitants while adhering to green building standards. This balance makes it an inspiring example for architects and homeowners alike, showing how **traditional techniques** can be adapted for today's world. **Lessons for Modern Design** This Coimbatore home offers valuable insights into how **architectural heritage** can inform sustainable design. It demonstrates that by looking to the past, we can find innovative solutions for the future, creating spaces that are both beautiful and responsible.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>sustainablearchitecture</category> <category>tamilarchitecture</category> <category>ecofriendlydesign</category> <category>traditionaltechniques</category> <category>modernhomes</category> <enclosure url="https://media.architecturaldigest.com/photos/6967b95a599d44ddc8d83b11/16:9/w_1280,c_limit/Untitled%20design%20-%202025-12-09T173610.283.png" length="0" type="image/png"/> </item> </channel> </rss>