<?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, 07 Feb 2026 11:13:55 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[From UX Designer to NYC's Ice-Breaking Hero: How One Man Turned a Snowstorm into a Lucrative Gig]]></title> <link>https://www.designremotejobs.com/article/from-ux-designer-to-nycs-ice-breaking-hero-how-one-man-turned-a-snowstorm-into-a-lucrative-gig</link> <guid>from-ux-designer-to-nycs-ice-breaking-hero-how-one-man-turned-a-snowstorm-into-a-lucrative-gig</guid> <pubDate>Thu, 05 Feb 2026 19:00:28 GMT</pubDate> <description><. *This interview has been edited and condensed for clarity.* **How did you become a dig-out guy?** My background is in **user experience design**. The downturn in the tech industry over the past 12 months has made job hunting incredibly tough. In December, I signed up for emergency snow removal with the Department of Sanitation, ready to shovel snow, but they never called. So, I decided to take matters into my own hands. Then, I saw a post on Reddit last week offering a snow-shoveling gig, and it sparked the idea to start my own service. ]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>career</category> <category>sidehustle</category> <category>uxdesign</category> <category>snowstorm</category> <category>adaptability</category> <enclosure url="https://pyxis.nymag.com/v1/imgs/fe8/4d1/c4e47216f561a5f1095892fc990d2851d9-IMG-8143.1x.rsocial.w1200.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Behind the Lens: Capturing the Untold Stories of Black Debutante Balls]]></title> <link>https://www.designremotejobs.com/article/behind-the-lens-capturing-the-untold-stories-of-black-debutante-balls</link> <guid>behind-the-lens-capturing-the-untold-stories-of-black-debutante-balls</guid> <pubDate>Wed, 04 Feb 2026 19:00:29 GMT</pubDate> <description>< ## Miranda Barnes’s CV **Born:** Brooklyn, 1994 **High point:** Social Season **Top tip:** Reading is fundamental!]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>photography</category> <category>blackculture</category> <category>debutante</category> <category>detroit</category> <category>tradition</category> <enclosure url="https://i.guim.co.uk/img/media/892b9c22ca2cfe210cda30b4965e85616365db3e/0_14_3543_2835/master/3543.png?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=320bc44f3e76cebacd75d1a8776d520c" length="0" type="image/png"/> </item> <item> <title><![CDATA[Cleveland's Bold New Apartment Complex: How J-Roc Development is Redefining Urban Living with Innovative Design]]></title> <link>https://www.designremotejobs.com/article/clevelands-bold-new-apartment-complex-how-j-roc-development-is-redefining-urban-living-with-innovative-design</link> <guid>clevelands-bold-new-apartment-complex-how-j-roc-development-is-redefining-urban-living-with-innovative-design</guid> <pubDate>Tue, 03 Feb 2026 19:00:30 GMT</pubDate> <description>< *This view shows the proposed development looking south (EAO)* J-Roc is known for **"modern architecture and forward-thinking urban design"** according to their company profile. Their latest project is no exception, featuring irregular, multi-angular structures that are certain to generate discussion among architecture enthusiasts and community members alike. ## Project Details and Design Philosophy The development will contain **82 apartments** across 1.1 acres that J-Roc acquired for $660,000. The property's irregular shape requires a creative approach, with a smaller building at West 70th Street and Battery Park containing six additional apartments and bike storage.  *Site plan showing the proposed layout with West 73rd Street at left and West 70th Street at right* Designer **Evident Architecture Office (EAO)** of Portland, OR, who also worked on J-Roc's previous projects including Shoreway Tower, The Driftwood Apartments, and Electric Gardens, explains their design intent: **"Create a hybrid typology that blends the economy of walk-up units with the ability to foster a strong tenant community typically only found in larger multi-family projects."** ## Community-Focused Features One of the most innovative aspects of the design is the inclusion of **"communal porches"** with seating areas that connect the two main structures along West 73rd. These connections will be above driveway and parking areas, creating a more cohesive multifamily development.  *View showing both connective structures containing communal porches above parking courtyards* EAO emphasizes that **"stronger communities are formed where informal gathering spaces are interspersed along daily circulation routes."** Most units will feature balconies, and the design aims to **"create high-quality units that have ample access to fresh air and sunlight by weaving the landscaping through the individual structures."** ## Practical Considerations The development will include **76 parking spaces** in interior courtyards, plus a central, dedicated bike room. The parking courts will also serve as part of the site's stormwater management system, with drainage and retention below the parking areas. These areas will be gated for residents only, with existing on-street parking available for visitors.  *A perspective from one of the communal porches connecting the residential buildings* ## Historical Context and Neighborhood Impact This site has been vacant since 2019 when the city acquired part of it to extend Battery Park Boulevard. The land was previously owned by an affiliate of Marous Development Group, who led the original Battery Park redevelopment of a former Eveready Battery plant more than 20 years ago. The project represents continued investment in the Gordon Square neighborhood, following other developments like The Station 73 apartments by Columbus developer Avenue Partners. South of J-Roc's property along West 73rd, another vacant property has been on the market for 17 months without successful development. As J-Roc continues to push architectural boundaries with their forward-thinking designs, the Battery Park Apartments project demonstrates how innovative urban planning can create both functional living spaces and stronger community connections.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>urbandesign</category> <category>architecture</category> <category>community</category> <category>development</category> <category>cleveland</category> <enclosure url="https://neo-trans.blog/wp-content/uploads/2026/02/Battery-Park-Apts-JRoc-EAO-2R-1024x581.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Meet Margaret Calvert: The Design Legend Who Shaped Britain's Roads and Keeps Us Safe]]></title> <link>https://www.designremotejobs.com/article/meet-margaret-calvert-the-design-legend-who-shaped-britains-roads-and-keeps-us-safe</link> <guid>meet-margaret-calvert-the-design-legend-who-shaped-britains-roads-and-keeps-us-safe</guid> <pubDate>Mon, 02 Feb 2026 19:00:26 GMT</pubDate> <description>< *Most familiar font in Britain … a hand-lettered 1950s road sign using the Transport typeface designed by Calvert and Jock Kinneir.* Designed in 1971 for the French new town of Saint-Quentin-en-Yvelines, but rejected for being “too English”, Calvert is a contemporary version of a slab serif. (Serif refers to letters with strokes abutting their ends – you’re reading one now). These bold, attention-grabbing typefaces date from the 19th century. Calvert has been described as having “vitality and elegance, avoiding the stiff and mechanical”. The same might be said of the woman herself. She drew from a very early age. “I would have been three or four,” she recalls. “And I can remember drawing on the floor on huge sheets of paper, not with crayons, just with a pencil. It was always a house with a chimney pot and a family standing in front.” She especially enjoyed life drawing. “I think that’s why I’m so fascinated by typefaces and lettering, because I think of a letter’s form as if it were a skeleton fleshed out in different ways.”  *‘Graphic design was thought to be a man’s discipline’ … Calvert today.* Calvert turns 90 this year and – in an extraordinary design and teaching career that began in the late 50s and still continues – has become the embodiment of a national treasure. She’s even been on Top Gear, hurtling down a motorway in a white Vauxhall Insignia with James May in 2010, discussing the technicalities of road signs, her graphic legacy to the nation. Anyone who has ever driven on a British highway will have encountered the sign system she designed with Jock Kinneir as part of the ambitious postwar modernisation and expansion of the nation’s road network, unifying and rationalising what had become a confusing and potentially hazardous array of lettering styles, colours and sign layouts. Lasting from the late 50s to the mid 60s, this was a colossal undertaking, but Calvert and Kinneir’s lucid, legible and eminently elegant signage has attained design-classic status. Officially implemented in 1965, and largely unchanged, it was “a house style for Britain”, embracing modernity with the aim of making everyday things better for everyone. Roads are safer, driving more pleasurable. Design historian Robin Kinross praised the project for highlighting “the role design could play in public life”. Calvert designed many of the familiar warning pictograms, including the silhouettes of a careering deer and cantering horse, inspired by the pioneering photography of Eadweard Muybridge. Farm animals are denoted by a static cow, based on a real one named Patience she encountered growing up at a relative’s farm in Wiltshire. Calvert herself features on the sign for children crossing, as a girl with distinctive bobbed hair leading a small boy across the road, rather than the other way around. Though she is intensely modest, she always means business. Kinneir, who taught Calvert graphic design at Chelsea College of Art in London and later invited her to join his office, described her as “the student who applied herself most rigorously to what she was doing. She kept her head down and worked like a maniac.”  *Milking it … Patience helps drivers beware.* Aptly, Woman at Work is the title of a mighty new tome in which Calvert relates the intertwined story of her life and career. But it also stands as a history of postwar graphic design in Britain. The cover is a version of her famous “men at work” pictogram, playfully altered to incorporate Calvert’s (still) bobbed hair and a skirt. Visually refined, insightful and wryly humorous, it is quintessential Calvert. Considering the longevity and brilliance of her career, it’s also long overdue – but she was happy to wait and pick her moment. “I think the timing is absolutely right,” she says, “because I’m still involved in interesting design commissions.” Among other things, an exhibition in Kyoto beckons, following a popular 2020 show at London’s Design Museum. And Give Way to Design, a documentary by Argentinian film director Patricio Orozco, tracing the history of road signage in Britain from still extant Roman milestones to the legacy of Calvert and Kinneir, will have its UK preview in March. Born near Durban in South Africa, Calvert came to Britain as a teenager, arriving in 1950. While studying at Chelsea, she luxuriated in a nascent swinging London, loving the freedom of art school where “you could just spend a whole week painting a still life”.  *Now you see it … a motorcyclist in his leathers assesses the legibility of a sign during trials in 1958.* She seemed destined for a career as an illustrator or art teacher, but then went to work with Kinneir in his cramped mews office in Knightsbridge. “One client described it as ‘A man, a girl and a hole in the wall’,” recalls Calvert. To begin with she did a bit of everything, “including typing, which I taught myself. And I did it really badly. If there’s something you don’t want to do, just do it badly and no one will ask you to do it again.” By 1964 she had been made a partner, and was designing across all scales from luggage labels, posters, letterheads and books, to signage at Gatwick airport and an identity for Britain’s railways, all with the same scrupulous care for supreme clarity and legibility. She hates the word branding, though, saying it reminds her of animals. After Kinneir’s retirement in 1980, she embraced teaching, working at the Royal College of Art for nearly 40 years. “Graphic design was thought to be a man’s discipline,” she says. “So I think it was quite a surprise for people to find me there.” She started out teaching typography to industrial design students. “I got them to redesign the information graphics on parking meters, which some of them took very seriously.”  *This way! … Calvert’s home studio.* Although she became the head of graphic design, her time at the RCA was punctuated by upheavals and imbroglios, with departing heads of department, constant reorganisation and changes to the curriculum. But for her students – many of whom are now successful designers and educators – she was a supportive influence, encouraging critical thinking and exploration of disciplines beyond graphics. One of her former students, Stefan Bufler, a professor of identity design in Augsburg, says she had the ability to “instantly identify any excess baggage that stops an idea from flying”. **Transport**, the lettering Calvert and Kinneir devised for the road signage commission, is possibly the most familiar font in Britain. It has since migrated into the digital realm, subtly re-conceived by Calvert and Henrik Kubel, another former student. Since 2012, New Transport has been used on gov.uk, the UK government website, its shapes working perfectly within the cybersphere, a testament to its legibility and enduring aesthetic appeal. However, as Calvert memorably describes in Woman at Work, its original gestation was far from straightforward. The very idea of a sans serif typeface (no end strokes) and the use of lower as well as upper case letters (“more legible because you read by word shape”) was challenged by traditionalists.  *‘The battle of the serif’ … the Transport typeface that upset traditionalists.* Laborious trials were undertaken, recorded in archive pictures showing flat-capped men solemnly sitting in an airfield as a car trundles past with a road sign for Oldham and Smethwick strapped to its roof. Ultimately, Calvert and Kinneir – and modernity – prevailed in what she describes as the “Battle of the Serif”. The entire intrigue has the makings of a delicious film drama about Britain’s tortuous relationship with progress, perhaps with the young Margaret played by Jessie Buckley. Apart from the time she used to zip around in a white Porsche 356C (“I bought it for its beauty, but it kept breaking down. It cost me a fortune to run, but I did love it”), Calvert is notoriously unshowy. Much like her work, which does not call attention to itself yet is the essence of human-centred design, easing legibility and movement around everything from transport systems to buildings or websites. “Design for me is a process,” she says. “It’s about improving things. Basically, it’s head, heart and hand.”]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>graphicdesign</category> <category>typography</category> <category>roadsigns</category> <category>designhistory</category> <category>calvert</category> <enclosure url="https://i.guim.co.uk/img/media/6f53b8bbc1bcfe89a4114398bb42dc61ad2d0809/728_0_3560_2848/master/3560.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=79d270b22b6593ec47b5a5330ba0299c" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Unlock Free IKEA 3D Models: A Game-Changer for Interior Design Planning]]></title> <link>https://www.designremotejobs.com/article/unlock-free-ikea-3d-models-a-game-changer-for-interior-design-planning</link> <guid>unlock-free-ikea-3d-models-a-game-changer-for-interior-design-planning</guid> <pubDate>Sat, 31 Jan 2026 19:00:37 GMT</pubDate> <description>< Apinanaivot's **IKEA 3D Model Downloader** is a script that adds a 'Download 3D' button to the IKEA website. That allows you to simply click to download 3D models of furniture or decorations as **GLB files**. The downloaded files are automatically named based on the product name and colour, making them easy to identify. They can then be opened in 3D software. That way you could create 3D models of spaces in your home and import the models to test them out or put them beside other furniture before deciding whether to buy. The script works on IKEA sites in different languages. Just remember that this should be used responsibly and only for **personal home planning** – don't go putting IKEA's 3D models into video games or other commercial projects! You can find the IKEA 3D Model Downloader on [GitHub](https://github.com/apinanaivot/IKEA-3D-Model-Download-Button).]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>ikea</category> <category>3dmodeling</category> <category>interiordesign</category> <category>designtools</category> <category>opensource</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/K7fd7PzhHXLNkPdrFj4KnY-1000-80.jpg" length="0" type="image/jpg"/> </item> </channel> </rss>