<?xml version="1.0" encoding="utf-8"?> <rss version="2.0"> <channel> <title>Design Remote Jobs | Find Remote Graphic Designer Job Positions</title> <link>https://www.designremotejobs.com</link> <description>Find remote graphic design jobs worldwide. Browse hundreds of remote positions for graphic designers, UI/UX designers, and creative professionals. Work from anywhere.</description> <lastBuildDate>Wed, 22 Oct 2025 21:23:18 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[Unlock Nintendo's Design Secrets: Inside the Metroid Prime Art Book That Reveals Everything]]></title> <link>https://www.designremotejobs.com/article/unlock-nintendos-design-secrets-inside-the-metroid-prime-art-book-that-reveals-everything</link> <guid>unlock-nintendos-design-secrets-inside-the-metroid-prime-art-book-that-reveals-everything</guid> <pubDate>Wed, 22 Oct 2025 18:00:29 GMT</pubDate> <description>< The book progresses chronologically through the series, covering the GameCube and Wii eras, and concludes with insights into *Metroid Prime Remastered* for Nintendo Switch - a project that reportedly took approximately **four years to complete**. ### Designer Insights from Nintendo Veterans The most compelling aspect for design enthusiasts are the **marginal notes from series producer Kensuke Tanabe**, a Nintendo veteran whose credits include *Super Mario Bros. 2* and *The Legend of Zelda: A Link to the Past*. These annotations provide direct insight into the design thinking and decision-making processes that shaped the Metroid Prime universe. ### Access and Availability Priced at **$50**, this art book represents an exceptional value for anyone interested in game design, concept art, or the Metroid franchise. For those wanting a preview, Nintendo offers a **35-page free sample** through their official website. While the book doesn't cover the upcoming *Metroid Prime 4: Beyond*, it serves as the perfect foundation for understanding the design legacy that the new title will build upon.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>gamedesign</category> <category>conceptart</category> <category>nintendo</category> <category>metroid</category> <category>designprocess</category> <enclosure url="https://platform.theverge.com/wp-content/uploads/sites/2/2025/10/metroidprimecover.jpg?quality=90&strip=all&crop=0%2C10.732984293194%2C100%2C78.534031413613&w=1200" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Meet the Rising Stars of Design: 5 Emerging Talents Shaking Up Milan's SaloneSatellite]]></title> <link>https://www.designremotejobs.com/article/meet-the-rising-stars-of-design-5-emerging-talents-shaking-up-milans-salonesatellite</link> <guid>meet-the-rising-stars-of-design-5-emerging-talents-shaking-up-milans-salonesatellite</guid> <pubDate>Tue, 21 Oct 2025 18:00:27 GMT</pubDate> <description>< Based in Ningbo, Zhejiang Province, China, designers **Zhen Bian, 33, and Jaco Qian, 31**, met at a concert of the Finnish symphonic metal band Nightwish. "I look like a rocker but she's the real rocker," laughs Bian, who graduated from the Karlsruhe University of Arts and Design in Germany and interned with Dutch designer Marcel Wanders. Qian attended the Polytechnic University of Milan. "I studied product design," Bian continues, "but it was quite experimental. They taught us to try new materials and working processes. Jaco studied strategy design so we work well together." Qian started her own studio in 2021; Bian freelanced for her before joining officially in 2023 when they became **Studio Ololoo**. "At first we were producing good-looking designs, commercial, but over time it's become more art," says Qian. "Designs for rich people!" Bian coughs loudly. "She means collectable design." Qian replies: "No one collects us – yet."  The pair are partners in business and life, and live in Qian's modern glass-framed apartment surrounded by their creations: an architectural model of a building for a client, miniature models of the Tenon and CHI sofa, their "knitted" glassware, first versions of a seat or legs for a stool, and components waiting to be used – "I like the possibility of them," Bian says. It is a miniature **Ololoo laboratory**. "We wanted to do something more fun," he says, "something that made us happy, and that we think is good design." The **Bubble Lamp**, which features an inflatable TPU structure, won first prize at the **SaloneSatellite Award 2024**. It received a bronze award at the Design Intelligence Award (DIA) and was shortlisted for a Dezeen award the same year. The pair also designed a **Bubble Stool**, which features an inflated TPU air bag within the seat, lending it its pleasing rounded shape. The inspiration came from a table mat. "I was watching Jaco one day: she rolled up a mat and squeezed it, and I found it interesting because the material deforms under pressure," Bian says. "So we used different tools to press the material to see what would happen. We like to explore materials. Last year it was glass, before that PPU, and maybe next year we will try metal." Qian holds up another of their creations: the **Wavy Vase**. Made of recyclable TPU and stainless steel, its undulating exterior is pitted by "steelies", or ball bearings, that dent the surface. "We liked the reflections it makes," she says. "You have to spend a lot of money to make a mould, so we ensure that what we have come up with is worthy of that." Bian says their process is part intuition, part knowledge. Living with their designs also helps. "We quit buying furniture; we now mostly use our own stuff, and it is the coolest thing." They are currently working on a new lamp and a collection of furniture for a client. How would they describe themselves? "Players. Yes, I like the idea that we are players," Qian says. --- ## Kejun Li *The Chinese engineer who unleashed his artistic sensibilities*  Born in Guiyang, south-west China, **Li, 35**, is a trained engineer who began his working life overseeing the construction of bridges. "My first job in Beijing was for a state-owned company and my first project was huge – a 600m-long suspension bridge in Mozambique," he recalls. "I was fortunate enough to work in Africa for a few years, but struggled internally between art and engineering because my family had instilled both influences in me. In China there is always this pressure between a parents' wish for a secure profession and a child's personal pursuits." His 30th birthday was a life-changing moment. "I decided I didn't want to waste any more time – I didn't want to waste a gift." **Li** applied to study design in Italy, moving to Milan in 2020. When the pandemic led to online teaching, he quit. "I found work with the design studio Mandalaki but also enrolled on a course in digital architecture in Venice," he recalls. "It gave me an understanding of how the industry works; the design process is an interconnected chain, much like engineering." A special interest in **computational design** underpins his output. "I find the hexagonal shape particularly interesting. With just one piece, no matter how you combine it, you can generate unlimited possibilities. I developed a piece of work that consisted of three frames of sculpture created by playing with the hexagon." An exhibition at Milan Design Week led to a collaboration with the Italian company De Marchi Verona, a ceramic-tile specialist. The **Cadenza collection** – single hexagon-shaped tiles that can form three-dimensional waves – has since gone into production (Artemest, from £505). Li established his own studio in 2022. This year he presented his latest tile concept, **Neo-baroqueism**, at SaloneSatellite. "I wanted to think about how we can give architectural heritage new life," he says. The simple white hexagonal tiles invite customers to interact and experiment with them: by painting segments in different colours or twisting the pattern at different angles. "I want to encourage people to touch, feel and to get to know how the tiles work," Li says of the product, which launches at the end of the year. "As designers we have to show that there's always a new way." He's already working on his next project. "It's something totally different exploring sexuality, the body and the act of looking. It's voyeurism, eroticism, totally playful." --- ## Roc H Biel *The Spanish maker turning dust into desirable furniture*  Presented at SaloneSatellite, the Spanish-born industrial designer and artist's furniture stood out for its ingenuity. Consisting of a series of modular columns that can be used alone as a stool or combined to create tables, benches and side tables, at first glance they appear to be made from sand. Reassuringly, the pieces are perfectly solid. "They're actually made from wood dust," **Biel** says. Biel, who lives and works in east London, was inspired to use the material when visiting a local wood workshop. "I noticed piles of waste at the end of the day and decided to do something with them," he says. "Basically I use a mixture of sawdust and magnesium – it feels like stone, looks like sand, but is something very different. I fell in love with this continuous contradiction and the idea of shaking perceptions." The pieces are also **sustainable**. "That was very deliberate," the designer says. "I like to work with classic sustainable materials such as steel, aluminium or glass but also new ones. At the end of the furniture's life, this material could be separated into its individual components and reused."  At 34, Biel is already a seasoned designer. He studied at the Royal College of Art in London before working for a number of large consultancies. "I started my own practice in January 2024 – if a space for your designs doesn't exist, you have to create your own. My work sits somewhere between the commercial and collectable art, which I've found appeals to architects, interior designers and a few collectors." He is excited about the growth of his studio. "I have an office and workshop at my house, which makes a huge difference. I work constantly. If there is something I can't make here, I'll head to Blackhorse Workshop nearby, where I weld metal or use the big planing machines and circular saws." His design process "begins with a search for sensations. That spark that a new design might provoke, and then lots of research. I love to take classical references and bring them into the future." The designer is currently exploring how to used rammed earth made out of urban waste as well as the transparency of optic fibre. "Playing with light and reflection really excites me. And I'm working on a set of speakers that are really fun," he says. "I want to spark curiosity and wonder. I love to see people's reactions when they're not certain what they are looking at, whether that's scale, materiality or texture. That is a game I really love to play." --- ## Maria Gil *The Warsaw native is an instinctive storyteller*  Polish designer **Maria Gil, 23**, develops her furniture and lighting through storytelling. "I find most forms of communication difficult unless it's visual, so design came naturally to me," she says from her home in Warsaw. The walls of the garage housing her studio-workshop are plastered with the drawings she sketches in moments of inspiration. Her prototypes are made by hand or with a 3D printer. The final creations are a statement. "They sit between the world of collectable design and larger production," she says. Gil was raised in Warsaw but studied product and furniture design at UAL in London, where she gained a first-class honours degree. This took her to Milan. "I did an exchange as part of my degree course, which really opened my eyes," she says of how her style developed. "I moved away from a very industrial focus and the idea that function needed to follow form: character is far more important to me – pieces that lack character are often perceived as throwaway." Gil's **Post War Drobe** is constructed from rebar and translucent fabric. "I imagined a world that rewrote Polish design history," she says. "In my universe, the playful design that flourished in the west during the mid-20th century also thrived in Poland, even though my country experienced shortages due to economic and political turmoil." She selected materials that could be sourced in times of scarcity, which is contrasted by the wardrobe's bold, flamboyant silhouette that flies in the face of restraint. Lighting fascinates her. "It's sculptural, expressive and leans much more towards art than most other furniture," she says. "Lighting creates a fourth dimension in a space because it not only exists in it but also influences it – it can change everything."  One of her most eye-catching pieces is the **All-Seeing chair**. "That started life as a sketch for a competition for the clothing brand House of Errors. They are very influenced by the all-seeing eye motif, so I designed the chair as an eye," she says. The concept won the label's creative competition in 2022, leading to its in-house development, with Gil invited to work with the team on a placement that she completed in 2023. Gil was a nominee at the Young Furniture Makers Textile Award in 2023 and won the Malcolm Walker Fast Track Prize in the same year. She is currently working as a freelance designer for the Italian furniture brand Nicoletti Home, and moving to Milan. She also continues to showcase her own work – she took part in the *People and Places 3* exhibition at Londonworks during last month's London Design Week. "I don't create furniture for the masses and I know it won't be to everyone's taste," she says. "Some people might hate it, others will love it, and that is what I love about designing – I'm looking for that response."]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>emergingdesigners</category> <category>sustainablematerials</category> <category>innovativefurniture</category> <category>designawards</category> <category>materialexploration</category> <enclosure url="https://images.ft.com/v3/image/raw/https%3A%2F%2Fd1e00ek4ebabms.cloudfront.net%2Fproduction%2F48864467-ca03-4b43-a027-60070d64d308.jpg?source=next-article&fit=scale-down&quality=highest&width=700&dpr=1" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[The Zipper's First Major Upgrade in 100 Years Is Here - And It's Changing Everything]]></title> <link>https://www.designremotejobs.com/article/the-zippers-first-major-upgrade-in-100-years-is-here-and-its-changing-everything</link> <guid>the-zippers-first-major-upgrade-in-100-years-is-here-and-its-changing-everything</guid> <pubDate>Sun, 19 Oct 2025 18:00:32 GMT</pubDate> <description>< ## Breaking the Mold Japanese clothing giant **YKK** is now revolutionizing this century-old design by stripping away the very fabric tape that has defined zippers for generations. This breakthrough represents the **first major upgrade** to zipper technology in 100 years, paving the way for the future of **seamless clothing**. ## What This Means for Design This innovation isn't just about improving functionality - it's about reimagining how clothing can be constructed. By eliminating the traditional fabric tape, designers gain new possibilities for creating garments with cleaner lines, better integration, and enhanced comfort. The move toward **tape-free zippers** could fundamentally change how we think about closures in fashion and technical apparel. ## The Future of Fasteners YKK's commitment to innovation demonstrates how even the most established design elements can be re-engineered for modern needs. This development highlights the importance of continuous improvement in design, even for components we take for granted. The shift toward **seamless integration** represents a significant step forward in clothing technology and manufacturing processes.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>zipper</category> <category>innovation</category> <category>fashion</category> <category>design</category> <category>technology</category> <enclosure url="https://media.wired.com/photos/68f260af3789ac9aa47d1e81/191:100/w_1280,c_limit/101725_GEAR-Zipper.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Unlock Your Website in Minutes: My Hands-On Experience with Squarespace's Blueprint AI]]></title> <link>https://www.designremotejobs.com/article/unlock-your-website-in-minutes-my-hands-on-experience-with-squarespaces-blueprint-ai</link> <guid>unlock-your-website-in-minutes-my-hands-on-experience-with-squarespaces-blueprint-ai</guid> <pubDate>Fri, 17 Oct 2025 18:00:25 GMT</pubDate> <description>< It starts with a topic: What is the website you’re trying to make? Squarespace gives you a list of topics to select from when you start with Blueprint AI, and there are a surprising number of options. You get top-level categories like photography and music, but after entering enough random queries, I stumbled upon everything from civil engineering to therapy services. I even entered “CPU,” and Blueprint correctly suggested computer hardware and components as a topic. From there, select a few goals you want to achieve with your website—i.e., selling products or publishing a blog—and choose a name and tone. This sets the stage for your site, but the fruits of your labor don’t show up immediately. Squarespace largely uses these points to generate copy for your site. Before you can get to that, you need to lay out your site. Although you can take any Blueprint website out into the full Squarespace editor, the core of your site is designed on a single page. Squarespace asks which sections you want to include, recommending those that fit your goals, and builds a one-page website with them. You’re given six options for each section, but they aren’t radically different from each other. It's a process on rails, never deviating too far outside of the boundary set by Squarespace's designers, even with AI at the helm. After your main page is set up, you can add additional pages, though without the option to swap between different layouts. From there, you choose a color palette and your fonts, which gives Blueprint much more character, and you’re done.  There’s plenty to explore in the Squarespace editor later, but Blueprint AI gets you to the editor with a clearer view of what your site is and what it should look like. Squarespace likes to highlight its award-winning templates, and they look great, but often only within specific contexts. The Tantillo template is bold, direct, and colorful, for instance, but it works much better as a template for a restaurant website rather than, say, a photographer’s portfolio. Blueprint can combine elements from other templates in a way that makes sense, while also filling your website with content generated by AI. Even if an AI-generated website isn’t the final destination—and it really shouldn’t be—Blueprint offers a great starting point. You can get a mockup of content, design, and layout by answering a few questions and making a few simple choices, and you’re left with a website that needs a few odds and ends tightened up. It’s much faster than strong-arming a template into something functional. ## Using the Squarespace Website Builder  Although Squarespace describes Blueprint as an AI website builder, it isn’t some separate tool that lives independently of Squarespace’s main website builder. When you’re done creating your website, you’ll be booted into the Squarespace dashboard, where you can further customize your site, change the design template, manage your SEO settings, and so much more. Being able to use the standard website builder is what makes Blueprint stand out. For my website, I created a faux online retail store called Goofy Garments, and I didn’t have to change much in the editor. I switched to a slightly different layout for the website headers, changed the font in one section that was difficult to read, added a login page, and I was done. Make no mistake, the AI-generated copy wasn’t perfect, and the AI-generated images of generic clothes look like they were, well, created by AI. But I’m able to put everything together much faster. Rather than thinking about image spacing, font sizes, and linking buttons up properly, everything is ready; I just need to drop in what I need. Blueprint even set up a handful of preset product listings that were ready to go with images and a description. You’ll likely spend far more time away from the editor. The specific sections of Squarespace you interact with will depend on what type of website you’re building, but what I appreciate about Squarespace is that it doesn’t lean too heavily in one area at the cost of another. There’s a smooth on-ramp for everything. The email campaigns section gives you a handful of templates for different emails you can send out, while the products tab gives you a checklist for connecting a payment processor and filling out fulfillment details. Whatever you’re trying to do, it feels doable, not overwhelming, which is a surprisingly difficult thing to nail with the inherent complexity of a website builder. ## Blueprint vs. Squarespace Templates  Squarespace made a name for itself with a curated list of templates, which is the antithesis of designing a website with AI. Blueprint doesn’t just build from scratch, however. The layouts, colors, and fonts are curated, and Squarespace says that there are some 1.4 billion combinations available. The generative AI component largely focuses on text and images, giving you placeholders while you upload your own content. Still, something is lost in mixing and matching these different design elements. After going through the five-step Blueprint setup process a few times, the building blocks became clearer. The final product looks unique with enough customization, but I never saw anything as bold or individual as one of Squarespace’s templates. Those bold designs come with their own downsides. As I mentioned before, you’re often left searching for the perfect template that looks the way you want while still being functional for the website you want to build. When you can’t find something, Blueprint is a godsend. When the stars align, however, I’d go with the curated template any day. Blueprint will give you a beautiful-looking website (you can see the images of the site it created for me throughout this article), but it still needs to operate within certain limitations. Massive headers, unique fonts, and oblong image frames won’t work with any design, and Blueprint is designed to work no matter what you throw at it. You lose some of the individualism found in Squarespace’s templates with Blueprint, favoring function over form. ## Try Blueprint for Free Blueprint AI lives within Squarespace's existing subscription plans; it's not a separate feature. You can start with either one of Squarespace’s templates or with Blueprint, and regardless of which you choose, you can start designing a site for free with a 14-day trial that kicks off when you create an account. When you’re ready to publish your site, you’ll need one of Squarespace’s four plans. The cheapest plan, Basic, is $16 per month when billed annually, but that scales all the way up to $99 per month for the Advanced plan. For most people, I recommend the Core plan. It’s $23 per month when billed annually, and it comes with all of Squarespace’s features, including Google Workspace integration and support for custom CSS and JavaScript. The more expensive Plus and Advanced plans include extras like more storage space, but they’re mainly focused on ecommerce. All of Squarespace’s plans support ecommerce, but the more expensive offerings come with lower credit card and transaction fees. You’re able to upgrade at any time, thankfully, and Squarespace offers a prorated price for annual plans.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>squarespace</category> <category>blueprintai</category> <category>webdesign</category> <category>aidesign</category> <category>websitebuilder</category> <enclosure url="https://media.wired.com/photos/68f177047dc1ccf204567548/191:100/w_1280,c_limit/squarespace-Jacob-Roach.png" length="0" type="image/png"/> </item> <item> <title><![CDATA[How Drew Struzan's Emotional Movie Posters Captured Hearts—And What Designers Can Learn Today]]></title> <link>https://www.designremotejobs.com/article/how-drew-struzans-emotional-movie-posters-captured-heartsand-what-designers-can-learn-today</link> <guid>how-drew-struzans-emotional-movie-posters-captured-heartsand-what-designers-can-learn-today</guid> <pubDate>Thu, 16 Oct 2025 18:00:24 GMT</pubDate> <description>< The story of how Drew developed his style tells you all you need to know about the man. As a penniless art student in Los Angeles, he couldn't afford to waste paint. So he learned to spread it thin, mixing oils with unusual transparency, building up layers gradually. Poverty taught him restraint, and restraint became elegance. For six years Drew attended Art Center College of Design, frequently getting kicked out for non-payment and sneaking back in through the back door. He sold homework paintings to other students just to keep going. Some weeks he ate only twice, when visiting his girlfriend Dylan. The rest of the time, he spent his meal money on supplies. I don't want to romanticise this kind of existence; it's brutal. But it points to something we've lost in our risk-averse culture: the willingness to commit absolutely. Drew didn't have a backup plan because he couldn't afford one. The work *had* to succeed; there was nothing else.  Fast-forward to the time when his “mountain of people” movie posters—layered, glowing faces stacked into a pyramid—solved a problem that still defeats many designers: how to show a large cast without creating chaos. Drew used hierarchy and atmosphere instead of flat equality. The key figures glowed; the supporting ones receded into shadow. Your eye knew exactly where to land. ## Replaced by Safe For me, Drew's art was a key element in what now seems like a golden age of blockbuster movies. And maybe I'm just becoming an old grump, but it feels like nowadays, that passion, craft and attention to detail is fading. Walk past a cinema today and you’ll see what’s replaced it: rows of celebrity faces, teal-and-orange colour grading, fonts designed by committee. Everything safe, everything forgettable.  It's easy to blame technology for that: digital software makes endless revisions easy, and AI is increasingly reducing even that workload. But as the old saying goes, "A bad worker blames their tools". We’ve forgotten that creative work involves risk. That style matters. And that a good poster doesn’t just show you who’s in the film; it tells you why you should care. Drew wasn’t working from a set of data points, optimising for demographics or responding to the demands of agents to "make the actor bigger". He wanted you to feel something. Everything else followed from that. He will be missed.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>drewstruzan</category> <category>movieposters</category> <category>graphicdesign</category> <category>designinspiration</category> <category>emotionaldesign</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/msbb99PgmaqG62B8EU2363-1920-80.jpg" length="0" type="image/jpg"/> </item> </channel> </rss>