<?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, 22 Jun 2026 06:46:51 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[How Control Resonant's Art Team Turned New York Into a Surreal Masterpiece]]></title> <link>https://www.designremotejobs.com/article/how-control-resonants-art-team-turned-new-york-into-a-surreal-masterpiece</link> <guid>how-control-resonants-art-team-turned-new-york-into-a-surreal-masterpiece</guid> <pubDate>Sun, 21 Jun 2026 18:00:55 GMT</pubDate> <description><![CDATA[As a huge fan of **Control**, with its blend of stale office rooms punctuated by new weird abstraction and stark angular architecture, I was hesitant to play **Control Resonant**. But the game's appeal is the baseline that sits under everything in this sequel. Even though it pushes out of the Oldest House onto the more open streets of New York, and shifts into up-close **Devil May Cry-inspired melee combat**, it never stops feeling like Control. > “Control first, so that’s the world,” says art director Elmeri Raitanen. “It already rules out many things that it *can’t be*.” This means every space, every asset, every bit of this New York works inside a strict visual language before it even becomes a level. While I’ve played many games set in New York, I’ve never seen it like this before. ## Making the Familiar Weird Resonant, like Control before it, is about **spectacle within recognized spaces**. The idea is that you understand the world to a point, then it breaks apart, twists, and becomes unusual. Here, that’s done through lighting, repeating patterns, and shifting shapes of creatures infesting New York. At times, everything gets 'weird': repeating figures spiral into the sky, the ground gives way, streets become caverns, avenues are canyons. “We definitely want to aesthetically and creatively stand out,” says Raitanen. This shows in how **aggressively consistent the visual language** is, especially now that the game has shifted into faster, closer combat. Because Resonant is not hanging back anymore. Protagonist **Dylan Faden** swings a shifting, vibrating metal weapon called the Aberrant that flips between forms—a scythe, hammer, dual daggers—layering in 'paranatural' abilities. It’s all very physical, very immediate, but it still reads cleanly, which is surprising given how much is happening at once. That clarity comes from the way everything is **visually signposted**, even when the screen is full of motion. After 20 minutes, I instinctively know which enemies pose the biggest danger, how others will attack, and which could offer life-saving energy drops. There’s a designed hierarchy to enemy types, and despite the creature design being strangely flexing mixtures of diffused light and claws, it all just makes sense. ## Red Is the Colour of Hiss The colour red is here to help more than I first realized. It’s not just about mood or style; it’s **communicating danger and places of interest**. Red is the colour of the Hiss. This carries over from the first Control, and given the speed and intimacy of Resonant, it's become more important, especially when exploring the sandbox-like Evacuation Zone. “The piercing red light is definitely one of them,” Raitanen explains about visual signals for the Hiss. In practice, it floods environments with a very specific warning tone; everything shifts when it appears, and areas of the map tease me from afar—a glowing red alleyway hints at a side-quest or story secret I can't ignore. In the Evacuation Zone, the Hiss took over a bus—I had to fight a spinning bus. That red shows up everywhere, layered over a version of Manhattan that’s already dense and grounded but then broken up by heavy blocks of crimson and jagged black distortion from the Hiss, which feel like they're aggressively invading the world. ## Patterns and Repetitions This is where production reality starts to show through the art direction. “We are still a fairly small team, so it’s sort of **artisanal video game making**,” Raitanen says. There’s a lot of reuse going on, but it’s not hidden; instead it’s folded into the language of the world and made into a statement of how the Hiss is reshaping New York. My first story mission, **The Sinkhole**, is a prime example of the team making a production limitation into a staple of the art direction. Control and Resonant are built on the idea of **patterns**, repeating motifs that evoke psychological unease. When I drop into the sinkhole, I’m confronted by a honeycomb of repeating rooms, all the same, dressed with the same wallpaper, tables, chairs, and humming TV. I can manipulate the rooms, spin them, flip them; ceilings are now floors. It’s the same asset used time again, and it’s brilliantly confusing. “We don’t have to build like 100 different apartments,” Raitanen says. I start noticing how windows repeat, how layouts echo each other, but it works because there’s **intentional confusion** behind the environment design that builds on deeper patterning throughout the game. Then there’s this line that really explains the intent: “We have the same exact house asset, repeated, and it actually becomes a string rather than something that stands out as a visual bug.” Playing Resonant, repetition starts to feel like a rhythm running through the whole game, whether it's rows of jittering pigeons caught in a loop or moments when shocks of **FMV**—filmed footage of patterns forming in water, ink in liquid—are superimposed over the action. So even when you catch repeated assets, it doesn’t break the illusion, because it’s consistent; it belongs to the rules of the world, and it *means* something. I ask Raitanen to describe the look and art style of Control as a series. “How do you visualise **uncertainty**?” he says, explaining the art team were asked to design ‘uncertainty’. The script asked them to create “an object in a constant state of superposition” or a “seven-dimensional object”. It sounds like theoretical physics, not art and design, but in practice those ideas translate into spaces that don’t quite settle but remain playable. Back in the Sinkhole, everything comes together. Repetition and room spinning is confusing, but then I remember the colour red and its meaning, and notice a room will light red every time a Hiss enters or passes. It all comes together—in an engaging blend of chaos, randomness, repeating design and **colour-coded art direction** to make it all readable. By the end of my Resonant demo, what sticks isn’t the scale of New York or the fast-paced combat; it’s how deliberate everything feels in its use of repetition as design. Control as a series is built on the identity of patterns, unsettling repeating forms and looping 'lines' of surrealist spaces. The fact that Remedy has managed to transition the series from a shooter to a brawler, from the Oldest House to the streets of Manhattan, and retain its core new-weird identity really is an art form in its own right.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>controlresonant</category> <category>gameart</category> <category>surrealdesign</category> <category>videogameaesthetics</category> <category>remedyentertainment</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/W7jEAH7Ky3VnYdZrKBNgXL-2560-80.png" length="0" type="image/png"/> </item> <item> <title><![CDATA[Martin Short's Effortless 80s Backyard: The Secret to a Low-Maintenance Wildflower Garden]]></title> <link>https://www.designremotejobs.com/article/martin-shorts-effortless-80s-backyard-the-secret-to-a-low-maintenance-wildflower-garden</link> <guid>martin-shorts-effortless-80s-backyard-the-secret-to-a-low-maintenance-wildflower-garden</guid> <pubDate>Sat, 20 Jun 2026 18:01:09 GMT</pubDate> <description><![CDATA[Garden design isn't always about flashy redesigns; sometimes, it's the quiet planting that adds subtle beauty. Martin Short's Santa Monica backyard, captured in a 1988 portrait, is a prime example. The comedian's garden features **gorgeous purple, yellow, red, pink, and white wildflowers** rising behind him, with vertical stone planters creating height and small hedges adding contrast. This understated yet vibrant look is achievable with **low-maintenance wildflowers**. ## Why Wildflowers Are a Great Choice **Wildflowers are among the easiest flowers to grow.** Garden expert Chris McIlroy explains: "Wildflowers will grow just about anywhere. If you have problem areas where nothing else grows, wildflowers are likely to manage. You can even buy varieties suited to shaded areas or clay soils." They require **no fancy compost or plant food** and rely on natural rainfall, making them **low-maintenance**. ## Tips for Recreating Martin's Look Julian Palphramand, garden expert at British Garden Centres, shares the secret: "Get your layers right, choose plants you love, and give them a good start in the soil. The rest takes care of itself." Start with a mix of **wildflower seeds** like the Groundio Wildflower Seeds (attracts butterflies and hummingbirds), add **purple salvia** for height, and use **cosmos seeds** for stunning colors. **Good tools** like Martha Stewart gardening gloves and Niwaki secateurs make planting and maintenance easier. A **starting fertilizer** like Miracle-Gro Quick Start helps plants thrive. ## The Result: A Whimsical, Low-Care Garden With careful planning upfront, your yard can thrive for years with minimal care. Martin's garden is a testament to the **art of a whimsical yard**—bright, colorful, and effortlessly beautiful.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>wildflowergarden</category> <category>low-maintenancegardening</category> <category>celebritygarden</category> <category>gardendesign</category> <category>gardeningtips</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/b4qVenbHJZBdUp9MU8Z3pm-1600-80.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[James Turrell's Subterranean Skyspace: An Immersive Art Experience That 'Holds the Sky Close']]></title> <link>https://www.designremotejobs.com/article/james-turrells-subterranean-skyspace-an-immersive-art-experience-that-holds-the-sky-close</link> <guid>james-turrells-subterranean-skyspace-an-immersive-art-experience-that-holds-the-sky-close</guid> <pubDate>Fri, 19 Jun 2026 18:00:59 GMT</pubDate> <description><![CDATA[American artist **James Turrell** has unveiled **As Seen Below**, a monumental 40-metre-wide Skyspace at the ARoS Aarhus Art Museum in Aarhus, Denmark. This immersive subterranean dome, created in collaboration with Danish studio **Schmidt Hammer Lassen**, is designed to transform the act of looking into the artwork itself. **A Dome of Light and Sky** The installation features a **six-metre-wide central aperture** at the dome's apex, framing ever-changing views of the sky above. Inside, the space is bathed in **monochromatic colours**, creating a meditative environment where light becomes a tangible substance. As Turrell explains, "The architecture holds the sky close, so you recognize that the act of looking is the work itself." **Architectural Integration** As Seen Below is the **centrepiece** of the museum's 4,000-square-metre expansion. The structure emerges from the park as a **grass-covered mound**, with an arched concrete entrance leading into the 16-metre-tall dome. The interior features raw concrete and brick paving, with stepped seating wrapping around the expansive space. A 100-square-metre operable lid can close the oculus, doubling as a lighting system. **The Journey** Visitors approach through a **subterranean concrete corridor** that transitions from light to darkness, building anticipation. The corridor's horizontal movement contrasts with the museum's verticality, preparing visitors for the sensory experience within the dome. **Turrell's 100th Skyspace** This is Turrell's **100th Skyspace installation** and his most ambitious yet. It joins his renowned works worldwide, including a transcendent Skyspace in Colorado and an illuminated skylight in New York. *Photography by Adam Mørk.*]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>jamesturrell</category> <category>skyspace</category> <category>lightart</category> <category>museumdesign</category> <category>immersiveart</category> <enclosure url="https://static.dezeen.com/uploads/2026/06/james-turrell-as-seen-below-skyspace-aarhus-sq_dezeen_2364_col_2.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Parisian Apartment Renovation Blends Classic Elegance with Bold, Contemporary Flair]]></title> <link>https://www.designremotejobs.com/article/parisian-apartment-renovation-blends-classic-elegance-with-bold-contemporary-flair</link> <guid>parisian-apartment-renovation-blends-classic-elegance-with-bold-contemporary-flair</guid> <pubDate>Thu, 18 Jun 2026 18:00:48 GMT</pubDate> <description>< *The sculptural pendant introduces a futuristic note into an otherwise classical view.*  *There's a hidden bar concealed behind a moulded door in the living room.*  *The calmer palette of the living room allows the owners' art collection to take center stage.*  *The shell-shaped washbasin was carved in Italy from Verona marble.*  *The restored fresco on the master bedroom ceiling evokes the atmosphere of an Italian palazzo.*]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>parisianapartment</category> <category>interiordesign</category> <category>renovation</category> <category>haussmannarchitecture</category> <category>bolddesign</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/P2mzhorQPj7Qf9jHMDsFrC-2560-80.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Epic Games Reveals How Generative AI is Revolutionizing Fortnite Concept Art and Skins]]></title> <link>https://www.designremotejobs.com/article/epic-games-reveals-how-generative-ai-is-revolutionizing-fortnite-concept-art-and-skins</link> <guid>epic-games-reveals-how-generative-ai-is-revolutionizing-fortnite-concept-art-and-skins</guid> <pubDate>Tue, 16 Jun 2026 18:00:55 GMT</pubDate> <description><![CDATA[Fortnite maker **Epic Games** has offered a rare glimpse behind the scenes at how it designs new character skins and in-game locations — and shown how certain stages involve the use of **generative AI tools**. In a video published to the Unreal Engine YouTube channel, Epic Games shows how a new Fortnite character is designed and iterated on by hand before being modified using an AI prompt to look more like a 3D model. The video makes a clear distinction between the ideation stage and later changes made by AI generation — and all of this still in the concept art stage, before any asset is recreated in-game. But the footage also shows how AI generation will create unwanted additions or errors, which then must be identified and corrected in a further design pass by the (human) artist. "The design is king, AI can generate generic stuff all day, but that's not what we're doing here," an Epic Games staff member says. "It just skips ahead in the timeline so [the artist] can focus on honing in on the design and crafting it exactly how he wants it to be." The video's publication follows repeated questions from Fortnite fans over potential AI use for certain in-game assets — such as a poster showing a nine-toed character in a hammock — that the company has previously kept quiet over answering. While the video makes clear that AI isn't used for designing characters from the ground up, it also makes clear that **generative AI use is now a part of the company's workflow** — and opens up the possibility that mistakes could still get missed within subsequent human checks. When designing concept art for in-game locations, it's a similar process. Sketches are drawn by hand in Photoshop, then recreated in 3D via the commonly-used 3D modelling tool **Blender**. Images from here are then adapted within Photoshop using AI prompts to explore alternative takes, such as day or night versions of the same scene, or to add destruction from a meteor strike. "At every stage of the design, artists continue to polish and refine, but now teams can revise faster, so artists have more opportunities to explore," Epic says. "All along the way there are continual reviews, before anything makes it into our games, and artists are careful to respect originality, track providence of their work, and ensure the finished product meets Epic's high quality standards." Epic Games is no stranger to AI technology, of course, having previously used generative speech technology to reproduce James Earl Jones' Darth Vader portrayal. But despite having the rights and approval of Disney, the character's inclusion proved controversial, especially as players quickly began making Vader say things more aligned with the dark side of the Force. Last year, Epic Games boss **Tim Sweeney** suggested that Valve should ditch Steam's AI Generated Content Disclosure label for games, as he believes AI use will become so ubiquitous it will make any warning redundant. "Why stop at AI use?" Sweeney wrote on social media. "We could have mandatory disclosures for what shampoo brand the developer uses. Customers deserve to know lol." "It doesn’t matter any more," he continued. "The AI tag is relevant to art exhibits for authorship disclosure, and to digital content licensing marketplaces where buyers need to understand the rights situation. It makes no sense for game stores, where AI will be involved in nearly all future production."]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>generativeai</category> <category>fortnite</category> <category>conceptart</category> <category>gamedesign</category> <category>epicgames</category> <enclosure url="https://assets-prd.ignimgs.com/2026/06/16/a-look-at-epics-art-concepting-process-00-01-28-1781606169729.png?width=1280&format=jpg&auto=webp&quality=80" length="0" type="image/png"/> </item> </channel> </rss>