<?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, 09 Mar 2026 18:51:53 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[14 Insider Secrets Nail Techs Won't Tell You: What They Really Think About Your Manicure Habits]]></title> <link>https://www.designremotejobs.com/article/14-insider-secrets-nail-techs-wont-tell-you-what-they-really-think-about-your-manicure-habits</link> <guid>14-insider-secrets-nail-techs-wont-tell-you-what-they-really-think-about-your-manicure-habits</guid> <pubDate>Sat, 07 Mar 2026 19:00:23 GMT</pubDate> <description><![CDATA[Getting a manicure is a service many book regularly, but there's a hidden price to nice nails that customers often overlook. It's a physically taxing job and a creative art requiring savvy entrepreneurship and skill. On TikTok, nail technicians have cleared up misconceptions and shared their hard boundaries with clients under hashtags like #5things. To help you understand what being a nail tech is **really** like, we've gathered insights from professionals on what they won't do after working in the industry. ## 1. I won't constantly check my hands in the middle of an appointment. "I would not keep pulling my hand away to look at what my nail tech is doing. I've had this happen to me multiple times, and it's super stressful! You begin to think about whether or not they're satisfied with what you're doing, and it also interrupts the whole process, causing the appointment to take longer. Please trust your nail technicians." — *Aleanie Molina, an Everett, Washington-based nail technician* ## 2. I won't stop wearing a mask. Carmella Laporta, a New York-based nail technician, recounted in a TikTok video that one of the top things she would never do after working in her profession is not wear a mask, regardless of whether she's the client or the nail tech. "Even before COVID, the nail dust is really bad for you, and I notice [that] when I don't wear a mask, I get really bad chest pains at the end of the day," Laporta said. ## 3. I won't ruin my body doing someone else's nails. Lynette Chanel, a Columbus, Ohio-based nail technician, shared in a TikTok that she will not "ruin my body doing some nails," and for her that means kindly instructing clients to relax their hands into the right position instead of trying to work around a client's posture. "They gotta sit here for two hours, we've gotta sit here for 10-plus years. And nail techs don't even be having health insurance like that," Chanel said in her video. In a conversation with HuffPost, she elaborated on what constitutes the wrong hand positioning. "A lot of people are more tense than they realize and they kind of flare their fingers out and spread them out or even hyperextend them up. Which means as a nail tech, we're trying to constantly bend you back down. Just relax and chill," she said. ## 4. I won't be on my phone all the time. "I wouldn't use my phone during a manicure. When getting a manicure, the nail tech's worst nightmare is someone using their phone during the manicure process. Picking up your phone whilst getting a manicure is a big no-no. "We cleanse your hands and the nails for the polish/gel polish application by prepping the nail plates to be free of dust, lint and oil. When you use your hands to touch your phone or even anything on the nail desk, you have now made it harder for the tech to properly do the service. This is how smudges, lint, dust happen. Let's leave the phone alone until after the service is done." — *Christa Cole, a Pasadena, California-based nail technician* ## 5. I won't rebook someone who ghosted. "Ghosting refers to someone who no-shows an appointment and doesn't bother to call or respond to messages. If that happens, you can be sure that the credit card I have on file for them will be charged the full amount of the service, and they are permanently blocked from rebooking. "This kind of disrespect has run rampant in our industry, due to the 'walk-in' culture of low-quality salons. Nail artists that take our job seriously work by appointment only. If the client doesn't show, we don't make money. That's just not fair." — *Dylan Pritchard, a Las Vegas-based nail technician* ## 6. I won't excessively cut cuticles. "We can cut as many cuticles as clients wish but there is [a difference between] your own skin and dead skin. Excessive cutting can cause bleeding or weaken your own cuticles." — *Amy Ling Lin, New York City-based founder of Sundays Nail Studio* ## 7. I won't fix someone else's work. "With the over-saturation of our industry, quality assurance is very hard to come by. Most new clients that come into my space can't even tell you what kind of manicures they've been getting due to the apathy of past nail techs. I can't guarantee my quality of work if I'm filling or fixing someone else's work." — *Pritchard*  ## 8. I won't do the same designs other artists have done. "I've been working as a nail artist for about seven years now. I love to talk with my clients and create designs together. Sometimes a cute design, a trendy design, might not match the client's style; my goal is to make their nails match their personality. "In these cases, I use my own creativity to propose different colors and designs or add something — for example, like stones, metallic, chrome, anything! — to the client." — *Miki Higuchi, New York City-based nail technician* ## 9. I won't shave my legs before a pedicure. Rachel Robertson, the owner and manicurist at The Shimmer Room in Edgewater, Florida, said in a TikTok video that the things she won't do after working as a nail technician include shaving her legs right before a pedicure. "Shaving causes microscopic tears in your skin. The products you are using in your treatment can irritate that further," Robertson explained in her TikTok. "And also, it's just leaving you open to possible infection. Not a good idea, and your nail tech does not care if your legs are hairy, I promise." "I always tell people to wait at least 24 hours after shaving," Robertson told HuffPost. ## 10. I won't overlook hygienic standards. "One red flag I would look out for is if your nail technician is reusing implements from other clients. This is a huge health hazard that unfortunately gets overlooked a lot by salons. There could be blood from other clients on those implements, fungi and bacteria in general and someone could get infected. They will reuse dirty files, buffers, cuticle nippers, even foot paddles. If their station or tools don't look clean, leave immediately!" — *Molina* ## 11. I won't spend 20 minutes picking a nail color. "While we do understand it is important to choose the color that you love, [I've had experiences where] it sometimes took longer than 15 minutes, [so] we had to change the soaking water as it was already cold and we started worrying about the next appointment. That's why at Sundays Studio, we only created 55 timeless colors and it doesn't overwhelm clients." — *Lin* ## 12. I won't be late to an appointment. "We can not only be late for our other clients, but our lunch breaks, or even what time we end up leaving the salon, or if the nail tech has kids or other engagements. You being late can drastically change [our] entire day. "And for the nail techs, I would say have a policy to protect you from that. Your mental health can be damaged if you're dragging at work or if you don't like your work anymore because you can never get a lunch on time, or you can never leave on time. Definitely get some type of late policy." — *Chanel* ## 13. I won't negotiate the price with a nail tech. "I'm a solo operator and have a private suite; I have a set price list that is subject to price changes. This pricing is based on the quality of service as well as my expertise. As a nail tech, we spend money on continuing education to learn new trends and how to work properly with companies' products. "Having a client come in and try to haggle the price can feel triggering at times. We understand that certain clients aren't for us and that they are used to a certain quality of service for a cheaper price, but haggling with a tech who has invested so much money and time into their craft can make them feel like they're unworthy." — *Cole* ## 14. I won't give someone a hard time for charging what they are worth. "I would never get my nails done knowing it's out of my budget. If I want a certain design, such as ombre or glitter nails, it is going to cost more than your simple one color set of nails. "I've had some clients that complained to me about pricing for a certain design when designs are completely optional. Getting your nails done is definitely a luxury service and [is] not necessary at all. If you can't pay for them, please don't give your nail technician a hard time for charging their worth." — *Molina* *The original version of this story was published on HuffPost at an earlier date.*]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>nailtech</category> <category>manicure</category> <category>beauty</category> <category>etiquette</category> <category>business</category> <enclosure url="https://img.huffingtonpost.com/asset/636963c5230000610016fad1.jpeg?cache=Bme7NeatHb&ops=1200_630" length="0" type="image/jpeg"/> </item> <item> <title><![CDATA[Discover How Perforated Floors Transform a London Home with Dappled Light and Interconnected Spaces]]></title> <link>https://www.designremotejobs.com/article/discover-how-perforated-floors-transform-a-london-home-with-dappled-light-and-interconnected-spaces</link> <guid>discover-how-perforated-floors-transform-a-london-home-with-dappled-light-and-interconnected-spaces</guid> <pubDate>Fri, 06 Mar 2026 19:00:28 GMT</pubDate> <description>< "For us, this project was about moving away from static rooms to create a better-connected home," the studio told Dezeen. "The real opportunity lay with an existing, unusual central rooflight. Instead of erasing it to gain floor space, we leaned into it, extending the void upwards to create a mechanism that draws daylight deep into the plan," it added. "By using **perforated steel floorplates** and open voids, we allowed light to become both structure and atmosphere, filtering it through the home so the spaces feel alive and intrinsically connected rather than separated."  The central daylit void of Komorebi separates the largely unchanged front of the home from a series of entirely new **concrete-framed spaces** at the rear, which the studio says "unfold in unexpected vertical and horizontal layers". Alongside the exposed concrete frame, the brickwork that lines this daylit void was given a finish of slurried, whitewashed mortar to enhance the feeling of light and space.  On the ground floor, a newly opened-up axis passes through the central void to unite the dining, kitchen and living areas, with a lounge at the rear opening onto the garden through a large glass pivot door. Above, a first-floor bathroom and a study sit behind the home's bedrooms, topped by an inverted-pitch roof and finished inside and out in pale brickwork. An additional "pod room" next to the central rooflight on the second floor offers additional living space for the client's teenage boys, ending in a large timber-framed window overlooking the garden and surroundings. A timber staircase with open treads alongside the home's central void connects each level, with its landings also given perforated metal floors.  "We utilised the existing split-levels to our advantage, knitting these zones together vertically with open stair treads and voids," said the studio. "It means that even when doing different things on different floors, the family remains visually and audibly connected," it added.  ConForm Architects was founded in 2017 by Ben Edgley and Eoin O'Leary. Previous projects by the studio include another extension in London that opens a flat up to its garden and a "homely" office in the brutalist Smithson Tower. The photography is by James Retief.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>architecture</category> <category>renovation</category> <category>lighting</category> <category>interiors</category> <category>london</category> <enclosure url="https://static.dezeen.com/uploads/2026/03/komorebi-home-extension-conform-architects-hero_dezeen_2364_col_1.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Nothing Headphone (a) Review: How a Brighter Design and 135-Hour Battery Life Redefine Everyday Audio]]></title> <link>https://www.designremotejobs.com/article/nothing-headphone-a-review-how-a-brighter-design-and-135-hour-battery-life-redefine-everyday-audio</link> <guid>nothing-headphone-a-review-how-a-brighter-design-and-135-hour-battery-life-redefine-everyday-audio</guid> <pubDate>Thu, 05 Mar 2026 19:00:26 GMT</pubDate> <description>< ## Nothing design gets lighter Interestingly, there’s a hangover from what made Headphone 1 so special, married to a new, lighter, and younger design. Headphone (a) softens the harder retro-industrial stance of Headphone (1) – you get the glimpse of structures beneath, but the ceramic-plastic colour blocking gives it a lighter mood. These are quite light – 310g – but feel solid. The sliding arms, for example, are reinforced with glass-fibre-filled nylon, the hinges use metal injection moulding, and the earcups are made of spongy memory foam. The headband padding is generous enough for long sessions, which, as I soon discover, will happen often with Headphone (a)’s wild battery life. Best of all, Headphone (a) picks up the innovative Roller, Paddle, and Button configuration from Headphone 1, that are stubbornly analog in a touch-swipe world – you roll for volume, the Paddle skips and scrubs tracks. But there’s also a new button, the Channel Hop toggle for swapping between media for text-to-speech, voice notes, and more.  ## Headphone (a) sound good All the good design moments could mask an audio dud, but then I press play and discover a solid experience. I’m an 80s/90s guitar person – Smashing Pumpkins and Weezer joined by new soundalikes Concrete Blonde and Been Stellar. The slightly messy production, vocals that need room to breathe, music that’s dense, layered, and modern, and I half-expected the usual mid-range squeeze you sometimes get at this price. But Headphone (a) performed incredibly well with punchy, energetic bass and surprisingly clear delivery. The 40mm RF driver with a titanium-coated PEN+PU diaphragm delivers full sound without feeling bloated. The listed 20Hz to 40,000Hz frequency range sounds like marketing copy, until I use them and notice how much air sits up top and how controlled the low end stays. There’s real weight down there, but it doesn’t smear across everything else. Another press release buzz: the AI-powered Dynamic Bass Enhancement sounds like a gimmick on paper, but in practice, it’s subtle. It nudges and makes each track feel rounded without swamping the audio. At up to 110 dB output, these headphones can get loud, but more importantly, they stay composed when they do. I would say I noticed ‘sound leak’ that wasn’t there on Headphone 1, so your commuter friends may hear the tinny fizz of whatever you’re listening to.  ## Impressive specs What is clear, even for a mid-range headphone, is that the spec sheet is stacked: LDAC with 24-bit/96 kHz support, Hi-Res Audio certification, and a redesigned magnet and voice coil system. In reality? It just sounds confident and punchy. Where things really get interesting and where Nothing clearly aims to find its space, outside of the unique design, is in the Headphone (a) battery life, which is, honestly, bordering on absurd. The 1060 mAh battery means up to **135 hours** with ANC off, and a massive 75 hours with Adaptive ANC on (AAC). I’ve been using them on and off for a week, and the Headphone (a) are still running; in fact, I actually stopped checking the battery life after day three. If you need a pair of affordable noise-cancelling headphones for a long journey, these are the ones (I’m literally packing them for travel as I write this). There are lots of stats and specs to dig into, including Adaptive ANC that reaches up to 40dB and works up to 2000Hz, with three adjustable levels and dual feedforward/feedback mics. Calls use a four-microphone system with Environmental Noise Cancellation and AI-trained Clear Voice Technology built on 28 million real-world scenarios. It’s comprehensive, it’s also overwhelming if you’re not truly into tech, but what it all means in use is that the Headphone (a) intelligently blocks background noise and keeps my voice clear during calls in noisy environments.  ## Lacking emotional weight And yet, for all the polish and punch, I still feel there’s a certain emotional weight missing from Headphone (a) that I loved about Headphone 1, which felt like it was making a statement, had a heft to it, and broke new ground in design and audio *feel*. Headphone (a) are absolutely more extroverted, more immediate, and these new headphones are a pair you’ll certainly use every day. It could feel like a downgrade, and to an extent Headphone (a) is – no KEF-tuning, the build is more everyday-plastic – but it’s a shift that has intent behind it. These are cheaper, brighter, more knock-about but with the vein of Nothing’s aesthetic running through them, from the bold design to the tactile controls and audio quality that punches above its price-point. That’s before you even take into account the ridiculous, sector-leading battery life. With Headphone (a), Nothing has managed to balance the best design elements of Headphone 1 with a new, more affordable build. If the price of Headphone 1 was off-putting but you loved the idea, and let’s be honest, audio is all about ideas and taste and feeling, then these new headphones are a great pick that won’t disappoint in how they look or sound.  I thought I’d miss the premium feel, but Nothing Headphone (a) won me over. By trading KEF-tuned gravitas for brighter design, a huge battery life, and punchy, confident sound, the Nothing Headphone (a) are a cheaper, extroverted everyday pair that keeps Nothing’s spirit, even if some magic fades.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>headphones</category> <category>audiodesign</category> <category>nothingtech</category> <category>productreview</category> <category>designinnovation</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/ZS3k3RVM35XqP66N5V57qP-1600-80.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Unveiling the Cosmic Horror of Cthulhu: The Cosmic Abyss – How Restraint Defines Fear in Unreal Engine 5]]></title> <link>https://www.designremotejobs.com/article/unveiling-the-cosmic-horror-of-cthulhu-the-cosmic-abyss-how-restraint-defines-fear-in-unreal-engine-5</link> <guid>unveiling-the-cosmic-horror-of-cthulhu-the-cosmic-abyss-how-restraint-defines-fear-in-unreal-engine-5</guid> <pubDate>Wed, 04 Mar 2026 19:00:27 GMT</pubDate> <description>< *Image credit: Nacon / Big Bad Wolf* ## A Modern Twist on Lovecraftian Lore Big Bad Wolf introduces a fresh take on the Cthulhu genre by setting the game in **2053** instead of the traditional 1930s, opening up opportunities for innovative technology and social commentary. Players step into the role of Noah Williams, an agent of the occult bureau ANCILE, investigating the disappearance of miners at the deep-sea Ocean-I station. The gameplay focuses on investigation, utilizing an AI companion named KEY to analyze clues, tune sonar frequencies, and examine objects from multiple angles. This setup nods to the pulp detective roots of Cthulhu stories while forging a uniquely horrific path.  *Image credit: Nacon / Big Bad Wolf* ## The Art of Restraint in Horror Design Creative Director Thomas Veauclin emphasizes that the core design principle is **restraint**, not spectacle, despite UE5's capabilities. The team's mantra, "Reveal The Unknown," guided their approach to confronting players with an unfathomable universe. They deliberately avoided showing threats concretely until it was too late, instead revealing only the consequences—ravaged environments, corpses, and heinous rites. The real horrors are unveiled at the last possible moment, when escape is impossible. The game's atmosphere is meticulously crafted, with tight pools of visibility and dark edges in the Ocean-I station's corridors, leveraging UE5's lighting technology. Torn metal, clawed bulkheads, and organic corruption are layered without compromising performance, creating an oppressive and immersive experience.  *Image credit: Nacon / Big Bad Wolf* ## Reimagining Cthulhu and R'lyeh Lovecraft's influence is explicit but not slavishly followed. For Cthulhu, the team moved away from the muscular titan archetype, envisioning an emaciated, asymmetrical being with chaotic limbs, visible skeletal structures, and holes to evoke trypophobia. Proportions were deliberately distorted—long arms, four-fingered hands, and a stocky torso—to jar players. Early designs even explored non-bipedal forms, but they ultimately returned closer to Lovecraft's iconic image. R'lyeh is depicted as a prison folded in on itself by the Elder Gods, with players advancing layer by layer toward its heart. The human world is portrayed in decline, torn between technological solutions and climate-political emergencies, with the 2053 setting sharpening this critique. The Ocean-I station symbolizes exacerbated capitalism exploiting the seabed, serving as a bridge between the known world and the impossible reality of R'lyeh.  *Image credit: Nacon / Big Bad Wolf* ## Designing the 'Corruption' System The game avoids clichéd insanity filters, instead focusing on a physiological approach to horror. Visual and auditory hallucinations, mutating matter, nauseating consumables, and non-Euclidean corridors disrupt players' senses and proprioception. A system called **'corruption'** represents Cthulhu's nefarious influence, gnawing at players from within even when the monster is not physically present. Visually, corruption seeps into the environment, with blurry images and manipulated chrominance to dissociate colors from the light spectrum. The goal is to create a distressing and enigmatic atmosphere, avoiding overly colorful or beautiful imagery.  *Image credit: Nacon / Big Bad Wolf* ## Color, Clues, and the Unseen As an investigation game, *Cthulhu: The Cosmic Abyss* constantly feeds players information without providing certainty. Chapters can be solved in multiple ways, with the game never confirming if the player has found *the* solution. Color serves as subconscious guidance: **orange** represents safety and security, seen in the aquatic suit, energy for clue analysis, and structural beams in the station. The game does not allow players to explore all of R'lyeh, emphasizing the contrast between the tiny human place and the vast unknown. In a bold move, some players may never encounter Cthulhu directly. If they control their corruption and make the right choices, they might spend hours searching without ever seeing him, yet his presence is omnipresent throughout the adventure.  *Image credit: Nacon / Big Bad Wolf* *Cthulhu: The Cosmic Abyss* releases on PS5, Steam, and Xbox Series X/S on April 16. Visit the Nacon website for more details.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>gamedesign</category> <category>horror</category> <category>unrealengine</category> <category>lovecraft</category> <category>investigation</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/jLQ5Q8VAkczRFGvWXwMKVV-2560-80.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Why This Video Game Artist Still Draws in a Sketchbook with Markers]]></title> <link>https://www.designremotejobs.com/article/why-this-video-game-artist-still-draws-in-a-sketchbook-with-markers</link> <guid>why-this-video-game-artist-still-draws-in-a-sketchbook-with-markers</guid> <pubDate>Mon, 02 Mar 2026 19:00:28 GMT</pubDate> <description>< “I drew this while hanging out with dear friends and fellow creators at our weekly sketch club. Here, we see my character, Jekallimn, taking tea with the dead.” ## Lunchbreak  “Here, I decided to bring more colour into my sketchbooks. Here, I’m experimenting with **Tombow markers** and muting them with greyscale **Prismacolor markers**.” ## Worm Trouble  “I had never drawn many mechs until this image. Now, my sketchbooks are full of them! My mechs tend to feel a little more **organic and creature-like**, I think.” ## Atrah  “I used one of my characters (Atrah) to try out my first set of **uni POSCA markers**. I also really enjoyed adding some **metal leaf** for an unexpected pop!” ## Maintenance Garage  “I’m a sucker for **perspective and pushing a sense of depth** in these otherwise 2D pages. Like many of my sketches, this was drawn entirely in marker, then inked. You can see more of Ben's work on his [ArtStation profile](https://www.artstation.com/mrblackcap). *This article originally appeared in ImagineFX. [Subscribe to ImagineFX](https://www.awin1.com/awclick.php?awinmid=2961&awinaffid=103504&clickref=cbq-gb-1125834900022594786&p=https%3A%2F%2Fwww.magazinesdirect.com%2Faz-magazines%2F6936559%2Fimaginefx-magazine-subscription.thtml) to never miss an issue. Print and digital subscriptions are available.* ## Get the Gear? Inspired to pick up markers and a sketchbook yourself? See our guides to the [best markers for artists](https://www.creativebloq.com/buying-guides/best-markers) and the [best sketchbooks](https://www.creativebloq.com/buying-guides/best-sketchbooks), or check out the deals below. ImagineFX is the No.1 selling digital art magazine for fantasy and sci-fi enthusiasts! Featuring digital and traditional drawing skills, game design, manga and film art each issue is crammed with training and inspiration from leading artists in their fields. Whether it's learning from comic art's Adam Hughes, fantasy art's John Howe, or digital painting's Loish, ImagineFX has you covered. ImagineFX has been inspiring artists for over 15 years!]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>sketchbook</category> <category>markers</category> <category>artdirector</category> <category>traditionalart</category> <category>creativity</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/dQ7MXCybZQmhCTV7vd6eG3-1200-80.jpg" length="0" type="image/jpg"/> </item> </channel> </rss>