CreativityZoid Edition 1

WHAT THEY SAID

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INSPIRATIONAL QUOTES FROM CREATORS TO KEEP MOVING

CONFESSIONS

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YOU CANNOT CARRY THE WEIGHT OF THE ENTIRE COMPANY

social media

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@creativityzoid

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PHILADELPHIA BURBANK

CREATIVE RADAR

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A SPECI A L SECT IO N

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Still Lives Visual diaries from 15 photographers give a glimpse of life in a time of isolation

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Nxxx,2020-05-11,A,013,Bs-4C,E1 THE NEW YORK TIMES, MONDAY, MAY 11, 2020

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Tracking an Outbreak The Heroes

‘I am living with guilt and sadness that I couldn’t help in time.’

Nabeela Arbee-Kalidas, Anesthesiology Resident JOHANNESBURG

GULSHAN KHAN FOR THE NEW YORK TIMES

IN HARM’S WAY As some countries ease restrictions on public life, health care workers around the world continue to risk their lives — and those of their families — to fight the coronavirus pandemic. Despite their stoic selfies, they feel scared, grief-stricken, guilty they can’t do more. In submissions and interviews, they reflect on what they have witnessed, the decisions they have made and how the pandemic has changed them. The Times will continue adding the stories of frontline health care workers.

Look for new installments every Monday in print. By The New York Times

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The most positive thing during the pandemic is to see everyone on the creative team pulling together to support each other professionally and personally”

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SIMON KHALIL

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GLOBAL CREATIVE DIRECTOR, ARAB NEWS

W

orking during the current crisis has created new challenges for everyone. For creative teams, brainstorming and sharing ideas is critical to achieving success. The move to remote working was a challenge initially, but everyone stepped up to the task, and we found the creative team actually functioned more efficiently. Output and success were not impacted.

Technology played a big part in this. Having a stable platform like Zoom was invaluable. Arab News has been recognized for 5 design awards during the pandemic, and we launched a completely new brand, Arab News En Français, in a time frame of 3 weeks during the lockdown.

Events were planned remotely, and we utilized animation for the launch TVC to navigate around being unable to shoot outside on location.

The most positive thing during the pandemic is to see everyone on the creative team pulling together to support each other professionally and personally.

Arab News (Dubai, UAE) COVID-19 Special coverage

@simonkhalil75

@arabnewsdesign

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THE BIG PICTURE

A new perspective

Teleworking: the new normal?

How did salaried professionals who had never worked from home before react to the experience during the coronavirus lockdowns? Do you see yourself in the results of these EU surveys? How might your work culture change as a result?

UNITED KINGDOM

NETHERLAN

The 5 stages of grief

Everyone reported some negative feelings over the loss of faceto-face interactions with colleagues. Yet the majority (in all 6 EU countries) came to terms with teleworking during lockdown. denial

anger

depression

43%

35%

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exploration acceptance

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%

83%

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Time spent working during the lockdown worked as much as before

66%

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worked less than before (avg. -3hrs/day)

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4 in 10 Span found work iards home very sing from tressful

People most energized by digital interactions British or Spanish 30-40 years old Parents High level of job autonomy Stuck to a routine Extroverted

34 | IESE Business School Insight | no. 156

SOURCE: IESE BUSINESS SCHOOL INSIGHT

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Feeling suppor ted by your boss* reduce s feelings of stress and an xiety.

*Includes their openness to different ways of working and being understanding of employees’ need to care for dependents – the case for twice as many women as men.

rkers nish wo a p S id boss? extent d To what ported by their p feel su

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Aspects to consider

% of active workforce working from home versus the office during the coronavirus outbreak (measured May 2020)

Two IESE professors discuss the issues that your company may also be chatting about…

KEY from home

Sebastian Reiche

in the office 100%

0 before only in the office

before partly like before in the office

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like before

Do we need to rewrite our company policies for teleworking?

It depends on personal preferences as well as logistical and technical issues.

The best of both worlds may be to work remotely two or three days a week for personal productivity, while going into the office the other days to maintain workplace relationships and contact with the company culture.

BELGIUM

Mireia Las Heras

What meetings should remain emails?

Only 20% of meetings need to be face-to-face, while the rest can be handled via videoconferences.

This may mean less business travel.

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%

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How can we continue to grow our digital capabilities acquired during the crisis?

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The qualities that got us through the crisis – flexibility, generosity, initiative and an upbeat attitude – are worth preserving.

I hope the remote work experiment has shown us the possibilities for designing work that is more flexible and accommodates different needs and circumstances.

%

60 80

45

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Country differences may be attributed to different work cultures, economic mixes (industrial vs. services), infection rates and government responses

Continue the conversation in your company…

sources: blog.iese.edu/expatriatus mireialasheras.com/research-reports/ telecommuting

60% felt moderately supported

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25% felt very little support

15% felt highly supported

Based on separate surveys by IESE’s Jeroen Neckebrouck (with Cass Business School and the HR service provider SD Worx) and by Mireia Las Heras, director of the International Center for Work and Family. Read “Keys to telecommuting during, and after, the lockdown” at ieseinsight.com.

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/www.mila-olszewska.com

I’ve learned to focus on things and actions which are in my hands. So for myself, I turned it into something positive. I started creating things that have always been on my mind: I spend more time painting and screen printing which led to creating my own online shop.”

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PAULA SCHER, PENTAGRAM

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Our reckless actions have burned the house we live in.

Alessandro Michele, creative director, Gucci

What is luxury in a post Covid-19 world?

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INSIGHTS

‘ THE FUTUMUSEUM RE IS OF TH Huma M Manu n connectio I N el R ab n has DFUL E ne ate, dir ector o ver been m ’ ore im f Louv po re

HOW DID YOU ADAPT YOUR DIGITAL OFFERING? The digital [element] was already present – we are a museum of the 21st century, so digital was obvious.

The application was there, but we always thought of it as a tool to help visitors. What was new and drastic

rtant,

says

was the tool instead of the visit. That mind shift – you can take it as a constraint or as an opportunity to explore new things.

During the closure, we created some very interesting experiences – our partnership with Anghami, for example. In a way, they curated, just like our own curators, a soundtrack inspired by what we are. I’m sure we will have a follow-up, which can definitely be a new way to discover the museum.

We Are Not Alone, [a cinematic podcast produced] with the Soundwalk Collective, was a crazy project from the start – using the Louvre Abu Dhabi structure as a trigger for a science-fiction story. These kinds of experiments are not disconnected from the museum.

We can reinforce them now the museum has reopened.

But one of the most important things is that we have original and authentic artworks. The best experience, the pinnacle, is the physical, which can be prepared for, accompanied and then followed with the digital.

WILL THE PANDEMIC HAVE AN EFFECT ON HOW CURATORS APPROACH THEIR COLLECTIONS MOVING FORWARD? I don’t think it will drastically change the curation for Louvre Abu Dhabi because, as I said, we were already talking about connectedness. But perhaps visitors will see a bit more relevance to what we are saying.

We are telling a story of beautiful objects, but behind

the objects, you have stories, and these stories are complex. What we see is the resilience of mankind.

And we think we are, more than ever, a mindful museum. We think of the other; we respect the other; we are interested in what they have to say. This will be exacerbated, but we will not rewrite the narrative of Louvre Abu Dhabi.

Humanity has already faced challenges and the optimist in me says we have overcome them by coming together. We need to be safe but, within that, there is value in us working together. This is what you see in the galleries of Louvre Abu Dhabi, and this is what we believe in.

HOW IS THE MUSEUM PLANNING TO RECONNECT WITH ITS COMMUNITY? A museum has to be in its territory. And this is something we introduced in the galleries when we specifically handpicked masterpieces and very important objects from the history of the UAE, the Gulf and the Arab world.

There is currently the opportunity for the community to reappropriate their museum. In a period in which discovering the world will be possible, but still complex, the best way to prepare yourself to discover the world is to go to Louvre Abu Dhabi, because you will see artworks from all civilisations; and you will see yourself, your identity, but also ‘the other’.

WHAT, IN YOUR VIEW, DOES THE MUSEUM OF THE FUTURE LOOK LIKE? Health and safety will be a key component of the museum of the future. Like any public space, we will have to demonstrate that, for this crisis and for the future. This is now a given. Just as we need to be accessible for people of determination – in the 21st century, if you are not completely accessible, you shouldn’t be open to the public. Similarly, the physical space has to be a safe space.

This is the first pillar. The second pillar will be this mix between the physical and the digital. Louvre Abu Dhabi is about the materiality of the artworks, but at the same time, our navigation in the world is through digital tools. This merger will have to happen. Not as a filter, but as an acceleration, a facilitation.

And the third element of the museum of the future is on the mindful side of things. It involves wellness, inclusivity and the social positivity that a museum has to create; it’s about the museum’s integration into the social fabric – with a capacity to heal, to develop and to educate.

We are aiming to develop some programmes for wellness and art therapy. When you talk about the community, understanding yourself better is a way to have a better society. Understanding myself is understanding the other.

Selina Denman

LOUVRE ABU DHABI

WHAT ARE THE KEY LESSONS LEARNT BY LOUVRE ABU DHABI AS A RESULT OF COVID-19?

The first lesson is that it is painful to close your museum. We were in our third year – it was the year of consolidation, the year of maturity and stabilisation.

We were thinking of Louvre Abu Dhabi 2.0, of our next steps. And then we were brutally struck where it hurts, exactly on our DNA. Louvre Abu Dhabi is about connectedness, and about witnessing the value and beauty of the connection between humans, throughout history.

So when a virus comes and attacks that very connectedness, forcing us to be removed, it is really attacking us. But when your identity is attacked, it means you understand even more strongly what it means. And for us, the key thing was to reconnect.

We really fought our ground. We had a good understanding of the multimedia and digital within our walls, but we made huge progress in outreach and in understanding how to interact and how to be accessible. The key learning is that digital experiences are here to stay.

habi

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LUXURY 39

INSIGHTS WHAT LIES AHEAD FOR DOLCE & GABBANA? Stefano Gabbana: We have always looked to the future with positivity, resourcefulness and a desire to do, invent, create, then undo and put everything back together. And it’s not just about style or fashion.

It is our life, and our greatest passion. Through our collections, we will never stop telling stories of love, authentic beauty and “made in Italy”.

DO YOU ANTICIPATE A GREATER FOCUS ON CREATIVITY IN THE FASHION INDUSTRY? Domenico Dolce: Enhancing your creative and manual skills is something that brings you back to your nature, to the authenticity of being, something that allows you to rediscover an intimate and perhaps hidden part of yourself, not entirely expressed. For example, I am drawing a lot and preparing several sketches in this period; I feel happy and satisfied when I dedicate myself completely to this activity.

‘THE COLLECTIONS WILL CERTAINLY BE REDUCED: LESS BUT BETTER’ Domenico Dolce and Stefano Gabbana offer their perspective on the future of fashion

People, at this moment, have no great desire to buy and this must be respected

IS THIS THE END OF FASHION SEASONS? DD: The dream of fashion shows is fundamental for all of us in the field – stylists, buyers, journalists – we all need it. The collections will certainly be reduced: less but better. We are in Italy, we have a brand, “made in Italy”, which is synonymous throughout the world with quality and beauty, and which does not only mean fashion, but also history, culture, art and more.

SG: Fashion must reflect reality, and keep up with the desires of people who today, understandably, are even more changeable. It is difficult to make longterm predictions; we will do what we deem most appropriate considering that people, at this moment, have no great desire to buy, and this is something that must be respected.

WILL PERCEPTIONS OF LUXURY CHANGE AS A RESULT OF THE CURRENT CRISIS? DD: We believe that people will seek, even more than before, a beautiful story, a dress, or an accessory that is also a tale – dreams made of wearable fabrics. This is what we have been doing for 36 years now: telling [the tale] of our beautiful country, the Italian spirit, our roots, craftsmanship, which is nothing more than the love of “know-how”, and transmitting emotions and a passion for fashion.

Now it’s all about making the right choice. In the face of these tragedies of such a vast scale, each action may seem insignificant, but the truth is that even a very small gesture can have enormous significance.

This is why we decided to start the donation project, Amore for Scientific Research, with Humanitas University, whose excellence and humanity make it a very special entity.

HOW DO YOU MAKE CUSTOMERS FEEL SPECIAL ONLINE? DD: Our clients have always been our priority and particularly during this difficult period, we have tried to make them feel our deep closeness: we’ve kept in touch with all the means at our disposal, most of all through social media. For example, recently we released a pilot video, which explains to clients our clothes and accessories, simulating a real shopping experience, as it would happen in the boutique.

SG: This will help us to figure out what are going to be the measures in our boutiques after the lockdown, where people will be forced to enter one or two at a time. Human touch will always be key for us, as well as a “one-to-one” shopping experience, which allows people to see our products with their own eyes. We believe this aspect of fashion should not be changed, but we can also explore and take advantage of the wide range of possibilities that online offers.

Selina Denman

Stefano Gabbana, top left, and Domenico Dolce. The duo pride themselves on creating ‘dreams made of wearable fabrics’

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COVID-19 REFLECTIONS

We capture members of the UAE’s creative community in their homes, as they reflect on lessons learnt in isolation and how their perceptions of luxury have changed as a result of the pandemic. Photos by Antonie Robertson and Victor Besa

“IT HAS BEEN BOTH INSIGHTFUL AND EMOTIONAL” SALAMA KHALFAN, JEWELLERY DESIGNER

For Khalfan, the lockdown has facilitated a period of selfdiscovery. “I’ve learnt things about myself – and about my reactions to external factors that I cannot control – that I didn’t know before. It has also been insightful in terms of learning how to adapt and of being reminded of what it’s like to live a slower-paced life.” It has also invited her to reconsider her definition of luxury. “Luxury in my view is a sentiment, a feeling derived from an experience, whatever that experience may be.”

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Can you recreate a luxury experience online?

GETTY/MATHEW KURIAN

E-TAIL

Sarah Maisey questions whether it is possible to capture the multisensory nature of a luxury shopping trip in digital form

“I

t isn’t necessary to recreate the same experience. I think the way you shop online is different than in-store,” suggests Kristina Fidelskaya, designer and founder of the eponymous fashion brand. Having recently launched her own e-commerce site, the Dubai designer is clear on the benefits of both.

“Online shopping has different advantages, where you are able to immediately see what the brand is all about in one place,” she says. “Each collection has a story … [and] by sharing the inspiration, you involve the customer in the thought process, something you might not be able to do when they are casually browsing in-store.”

The difference between in-store and online shopping has never been more pertinent. With countries only gradually emerging from strict lockdowns, the retail industry is still reeling from having to shut its doors, and watch helplessly as its customers shifted – almost overnight – entirely online.

For everyday items, this change was easy. But what of high-end transactions? Can the immaculate detailing of a carefully crafted dress, or the butter-soft leather of a bag ever really translate fully online?

Much of the allure of an extravagant purchase is the emotional experience that accompanies it. The hushed surrounds of an architecturally inspired boutique, populated with attentive, knowledgeable staff.

Beautifully made wares laid out in expensive cabinets, in a calm and dignified space where even the air is lightly scented. The luxury retail experience is often

18 LUXURY

designed to evoke all five senses, so how do you convey that digitally?

The first to tackle this challenge was Net-a-Porter, the high-end multi-brand online site that launched in 2000. Aimed at cash-rich but time-poor women, it stocked the biggest brands, which could be browsed between meetings or after the children had gone to bed. Succinct and convenient, it prompted others, each offering something unique.

Farfetch connects its customers to the world’s best boutiques, while Moda Operandi enables pre-orders from entire runway collections. MatchesFashion excels because of the tight curation of its founders Tom and Ruth Chapman.

But translating luxury digitally remains a challenge.

MatchesFashion’s profits fell by 89 per cent in the year ending January 2019, and while big-name brands have still flocked to join the UAE-headquartered platform Ounass, the men’s division of Moda Operandi closed permanently in April, and the UAE’s The Modist went out of business as Covid-19 hit.

The pandemic has serious implications for the luxury market as a whole, with management consulting company Bain predicting a global slump of $100 billion (Dh367.25bn) and no reprieve until 2022.

Yet even before the pandemic, eminent brands were starting to bring online sales in-house, realising it was the only way to retain full control.

Founded in 2014, the Kristina Fidelskaya brand has earned a reputation for sleek tailoring, sharp details and highly wearable pieces. Aimed at the busy,  LUXURY 19

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The Guide to financial planning for Creatives MARTH

Budgeting Apps Mint offers the best-known free budgeting app on the market. It’s a great option for anyone looking to improve their spending habits. The app is free but you may see targeted financial product advertisements.

Free budgeting app

YNAB offers the ability to sync your bank accounts, import your data from a file, or manually enter each transaction. To begin, the company suggests learning the basics about the app through video courses, a live workshop, or reading a guide.

They offers a free trial for 34 days (no credit card required) and after that, the cost is $84 per year. If you prefer to pay less upfront, the cost is $11.99 per month.

Simplifi by Quicken ranks best for cash flow because of the app’s effective tracking capabilities. It’s the best option for staying on top of how much you can spend between your paychecks.

The app offers a free 30-day trial and then you will pay $2.99 per month (billed annually at $35.99) or $3.99 per month if you choose not to pay upfront.

First-Time Investors app M1 Finance allows you to build a flexible, custom portfolio of individual stocks and funds or choose from dozens of premixed options for free. While it will likely appeal to experienced investors.

Stash recommends investments to you based on the profile you build at sign-up.

It’s also one of the best investment apps if you want to get digestible educational content to boost your trading knowledge.

Moomoo is an advanced trading app that tailors primarily towards shorter-term traders. The app provides a significant amount of research and data that traders will likely find very useful.

It doesn’t charge any commissions or the management fees that are common elsewhere, but the app can charge a $20 inactivity fee after 90 days for low balances.

M1 Finance has a minimum account balance of $100, or $500 for retirement accounts.

Stash lets you invest with no minimum, and monthly fees vary from $1 to $9 depending on account type. The beginner account allows you to invest in fractional shares of an individual stock, bond or ETF; the $3 per month “growth” account allows for IRAs.

Moomoo account holders enjoy commission-free trading with no monthly maintenance fees or data fees for real-time monitoring. But minimal fees do apply for stock and options trades.

FINANCE YOUTUBE CHANNELS

My name is Ryan Scribner. I make videos geared towards investors looking to learn the basics of investing as well as personal finance skills.

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Rich dad said, “A business needs both a spiritual and a business mission to be successful, especially at the beginning.”

Helping you grow your income so that you can live a financially successful life!

- Productivity - Minimalism - Personal Finance

The Guide MARTH to financial planning for Creatives

PocketGuard uses an algorithm to track your income, expenses, and savings goals to tell you how much you can spend every day. These spending limits make it easier to quit overspending and take control of your financial goals.

Personal Capital lands at the top of our list with the best app for building wealth. You can use the product’s dashboards to sync accounts for a complete picture of your finances. The company’s primary app is free, with the option to add investment management services for 0.89% of your money for accounts under $1 million.

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Zeta is one of the few free budgeting apps designed specifically for couples, joint finances or not. The app caters to all types of couples, including those who are living together, engaged, married, or new parents. You can sync various accounts to track spending, see your net

PocketGuard Plus is $34.99 per year

Free wealth management app

Free budgeting app and no-fee joint bank accountA

Betterment LLC helps you plan savings and investments for specific life goals such as funding a safety net, a child’s education, a retirement nest egg or major purchases like a home or wedding.

Robinhood is an easy place to get started investing because it has no minimum balance, a simple-to-understand interface, fractional shares and doesn’t charge commissions or fees.

Betterment’s basic plan has an annual advisory fee of 0.25%. (It also has a premium plan with a fee of 0.4%, which offers access to professional advice but requires a $100,000 balance.) Betterment says the ETFs it uses have average fees of 0.11%.

Robinhood offers a premium subscription called Robinhood Gold with a cost starting at $5 a month. Gold offers access to investment research and data and margin trading, which involves borrowing (with interest) from Robinhood to invest.

Ellevest is one of the best investing apps for women and was built around research on female investors. This robo-adviser tries to account for the gender pay gap and the likelihood of women living longer than men in designing portfolios.

Ellevest‘s basic plan costs $1 per month; there are also Ellevest Plus at $5 per month and Ellevest Executive at $9 per month.

The higher tiers include support for 401(k) rollovers and transfers, larger discounts on financial planning and career coaching.

Project Life Mastery reveals his very best strategies to mastering and living life fully; everything from how to be motivated and his secrets to success.

I believe anyone can become wealthy by thinking like an investor & entrepreneur, my YouTube videos are a mix of entertainment and education!

TD Ameritrade’s YouTube channel, the place to find videos that demonstrate our online trading platforms and technology as well as explain our investment products and perspectives.

WWW.CREATIVITYZOID.COM

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@soniamatosdesign

sónia-matos-614a5134

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Opinion sections

Politics section

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INTERVIEW

THE REDESIGN IS THUS A REFRESHING CHANGE, GIVING EMPHASIS ON ESSENTIAL AREAS OF JOURNALISM SUCH AS OPINION, REPORTAGE, AND INTERVIEWS. A VARIETY OF NEW FEATURES INCLUDING SPECIAL REPORTS AND A REFASHIONED FIRST PAGE HAVE ALSO BEEN INTRODUCED, ADDING FLAVOR

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@rui.weiner www.ruiweiner.com

http://www.maxalexander.com/ @maxalexanderphotos

MEGAPROJECTS

The longest data visualization is on display in the entrance of Hotel Theater Figi in Zeist: throughout 21 meters the popularity of all motion pictures since 2014 is shown – until the dramatic lockdown in March 2020. The visualization is based on the 419,170 moviegoers who have attended some 20,593 film screenings at the local cinema.

20 METERS INFOGRAPHIC IN NETHERLANDS BY FREDERIK RUYS

A

21-meter-long visualization, based on 20,593 film screenings that have been shown in the Figi cinema in Zeist over the past seven years. Utrecht Frederik Ruys made this special work of art.

The infographic is now hung at the entrance of Figi. “The entrance is an important passage, but it is long and narrow. I, therefore, looked for a refreshing, varying shape that could break through the length. At the same time, it also had to be something that could interest visitors and guests both from afar and from close by. “

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MEGAPROJECTS

Source: Ad.nl / Vizualism

Frédérik Ruys is an infographic artist specialist, is one of the founders of the Infographics Congress, curator of the book Infographics in the Netherlands, and publisher of the one-off magazine Infographics. Provides workshops and training courses for editors and communication staff and regularly gives guest lectures. It has been awarded various prizes, including the Annual Infographic Award (2009, 2012, 2013, 2016), the European News Design Award (2008, 2009, 2010), and the Malofiej (2014). Also, occasional jury member (Information is Beautiful-Awards). https://www.vizualism.nl/

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Reporting to the Global Business Director, this role is a senior, client facing position, that will lead the development and production of exceptional cross channel content for a key client.

Inspire a fundamental step change in the creative output for this client. Inspire new thinking and bring innovative ideas to life. Create work that is ‘best in class.

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WARNER MEDIA (ABU DHABI) MULTI-PLATFORM PRODUCER

As a Multi-Platform Producer for Connect the World with Becky Anderson, you are an innovator, a risk-taker, and an enterprising self-starter who’s passionate about telling stories to CNN’s global audiences on television and online.

You’re as comfortable imagining, pitching, and executing your own vision for multi-platform projects for the Emmy award-winning show as you are collaborating with the daily broadcast programming team.

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MEDIAMONKS (WATERLOO, UK)

Senior Film & Content Producer

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We’re looking for an experienced and versatile Senior Film & Content producer to lead the development and delivery of a wide range of film and content projects.

This is a senior, hands-on role in our booming London Film & Content team. You’ll take ownership of the creation, development and delivery of multiple first-class creative projects.

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STAR TRIBUNE Digital Designer

The Digital Design team at the Star Tribune in Minneapolis seeks a designer/developer to join its group of visual storytellers. This person will work with stakeholders across the newsroom — including editors, reporters, photographers and graphics artists — as well as other designers and developers to build rich story experiences for desktop and mobile audiences.

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FACEBOOK - NEW YORK Art Director, Creative X Creative Experiences (Creative X) is a global, integrated creative agency that drives the creative vision for our brands and how they are perceived in the world. We develop all consumer brand content and experiences for the Facebook company, Facebook app, Instagram, Messenger and WhatsApp.

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FINAL WORDS

A CALL FOR SOLIDARITY

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FINAL WORDS

Cartoon: Niño Jose Heredia

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WOMEN IN TECH SYMPOSIUM: THE NEW ERA IN HUMAN-COMPUTER INTERACTION

MARCH DESIGN THINKING BREAKFAST WITH RAJA SCHAAR

Now entering a new era, human-computer interaction is a multidisciplinary field that combines new technology in cyber-physical systems with human-centered design and usability. This year’s symposium will examine leading-edge technologies and challenges to ensuring equitable and inclusive HCI.

Raja Schaar, IDSA is Program Director and Assistant Professor of Product Design at Drexel University’s Antoinette Westphal College of Media Arts and Design.

She also co-chairs IDSA’s Diversity, Equity, and Inclusion Council.

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A CAREER IN UX DESIGN

INTRODUCTION TO 3D DIGITAL DESIGN: PART 1

H Academy’s UX Design Course is curated for earlycareer designers and those looking for a career shift.

You will learn different facets of human-centred design from a world-class instructor that trains Fortune 500 companies. Instructor: Michael Tam

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YOUR EVENT IN THIS SECTION CONTACT: hello@creativityzoid.com

Join the Smart Citizens’ team in this short online workshop, where we’ll explore how to create simple forms and realistic designs in 3D through the free software, Autodesk Fusion 360. We will also introduce you to Cura, a software that transforms your designs into reality through the power of 3D printing.

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