Reskate’s Youthful Murals Transform into Glowing Symbols of Peace June 5, 2025 Art Jackie Andres During the day, Reskate’s extensive murals cover large swathes of space on buildings, stage backdrops, and even transformer towers. While these monumental public works are striking during sunlit hours, they completely transform with the darkness of night. Artists Javier de Riba and María López are the artistic duo behind Reskate. Primarily based in Barcelona, both artists travel throughout the year, visiting different corners of the world to complete projects to “raise awareness of care for culture, nature, and peace.” Detail of “Paix”. Reims, Champagne. Image by Romain Berthiot Reskate’s subjects are often children. In a bold, illustrative style with graphic linework, the artists depict young figures holding objects related to the area in which the mural is placed, as well as articles that reflect global concerns. “The invisibilization and invalidation of youth as an active element that should be part of society is a burden that continues to be perpetuated,” the duo explains in a statement covering “Eulalia,” a previous mural completed in 2023. An example of this is prevalent in “Bruit,” taking the form of stage design for an immersive concert. In the piece, a young girl protectively wraps her arms around a fishbowl, nodding to the impact of sound pollution within the oceans. The pair recently completed an exhibit at the Museu Picasso in Barcelona and plans to continue their artistic endeavors both in and out of the public space. Find more work on Reskate’s website and Instagram, and browse prints in their online shop. “Harmony”. Liverpool. Image by Corbyn John “Transformateur”. Mareuil-sur-Ourcq, France. Image by Sophie Palmier Detail of “Transformateur”. Mareuil-sur-Ourcq, France. Image by Sophie Palmier “Bruit”. Le Mans, France Detail of “Bruit”. Le Mans, France “Boycott”. Ghent, Belgium Next article #reskates #youthful #murals #transform #into

Fog and mist offer photographers an exceptional opportunity to create deeply atmospheric, moody, and mysterious imagery. By embracing these unique weather conditions, you can transform ordinary scenes into captivating visual stories filled with depth, emotion, and intrigue. Here’s how to effectively harness fog and mist to elevate your photography. Understanding the Appeal of Fog and Mist Fog and mist naturally diffuse light, softening contrasts and textures within a scene. This soft diffusion creates a dreamlike ambiance and adds emotional depth to photographs, often evoking feelings of tranquility, solitude, or mystery. By obscuring and revealing elements selectively, fog and mist invite viewers to engage deeply with the visual narrative, filling in unseen details with imagination. Ideal Conditions and Timing The most atmospheric fog and mist usually occur during early mornings or evenings, especially near bodies of water or in valleys and lowlands. Paying close attention to weather forecasts can help you predict ideal conditions. Early preparation and scouting locations ahead of time ensure you’re ready when the perfect atmospheric conditions arise. Composition Techniques for Foggy Scenes Creating impactful foggy compositions involves thoughtful techniques: Layers and Depth: Use the fog’s varying densities to emphasize depth. Layering foreground, midground, and background elements adds visual complexity and interest. Silhouettes and Shapes: Fog reduces detail, emphasizing strong shapes and silhouettes. Compose your images around distinctive shapes, trees, or structures to anchor your photograph. Simplify the Frame: Minimalism is especially effective in foggy conditions. Embrace simplicity by isolating single elements or subjects against misty backdrops for dramatic effect. Lighting and Exposure Considerations Fog significantly impacts exposure and lighting conditions: Soft Light: The diffused, gentle lighting conditions in fog and mist reduce harsh shadows, creating flattering, ethereal images. Exposure Compensation: Fog often tricks camera meters into underexposing scenes. Consider slightly increasing your exposure compensation to accurately capture the brightness and subtle details of foggy conditions. Creative Opportunities with Fog and Mist Fog and mist open diverse creative possibilities: Black-and-White Photography: Foggy conditions lend themselves exceptionally well to monochrome photography, highlighting contrasts, textures, and shapes dramatically. Color Tones and Mood: Color images in foggy conditions can carry gentle pastel tones or cool hues, enhancing the atmospheric and emotional impact of your imagery. Enhancing Foggy Images Through Post-Processing Post-processing can refine foggy scenes: Contrast and Clarity Adjustments: Fine-tune contrast and clarity subtly to maintain the softness and mood without losing important detail. Selective Sharpening: Apply selective sharpening to key elements or subjects, ensuring they stand out within the foggy environment without diminishing the atmospheric quality. Fog and mist provide photographers with unique conditions to craft images rich in mood, narrative, and visual intrigue. By thoughtfully considering composition, timing, lighting, and post-processing, you can harness the power of fog and mist to produce atmospheric photography that deeply resonates with viewers. Embrace these ethereal elements, and transform everyday scenes into extraordinary visual stories. Extended reading: Alpine views: 12 breathtaking mountainscapes to celebrate the chilly season The post Crafting Atmospheric Images with Fog and Mist appeared first on 500px. #crafting #atmospheric #images #with #fog

Get ready to conquer the heights in the upcoming game "Atmospheric Survival Climber Cairn"! As we gear up for its release, this thrilling adventure promises a unique blend of survival mechanics and breathtaking visuals, all set against the majestic backdrop of Mount Kami. Imagine using artificial intelligence to enhance gameplay, where advanced machine learning algorithms adapt to your climbing strategies and decisions, making each ascent a unique experience. This is just one of the many exciting AI applications that future tech is bringing to the gaming world. As we push the boundaries of what's possible in immersive gameplay, we invite you to ponder: how do you think AI and machine learning will transform gaming in the years to come? #GamingInnovations #AIinGaming #FutureTech #MachineLearning #AtmosphericCairn

After detailing the VFX work on The Last of Us Season 1 in 2023, Alex Wang returns to reflect on how the scope and complexity have evolved in Season 2. With close to 30 years of experience in the visual effects industry, Fiona Campbell Westgate has contributed to major productions such as Ghost in the Shell, Avatar: The Way of Water, Ant-Man and the Wasp: Quantumania, and Nyad. Her work on Nyad earned her a VES Award for Outstanding Supporting Visual Effects in a Photoreal Feature. Collaboration with Craig Mazin and Neil Druckmann is key to shaping the visual universe of The Last of Us. Can you share with us how you work with them and how they influence the visual direction of the series? Alex Wang // Craig visualizes the shot or scene before putting words on the page. His writing is always exceptionally detailed and descriptive, ultimately helping us to imagine the shot. Of course, no one understands The Last of Us better than Neil, who knows all aspects of the lore very well. He’s done much research and design work with the Naughty Dog team, so he gives us good guidance regarding creature and environment designs. I always try to begin with concept art to get the ball rolling with Craig and Neil’s ideas. This season, we collaborated with Chromatic Studios for concept art. They also contributed to the games, so I felt that continuity was beneficial for our show. Fiona Campbell Westgate // From the outset, it was clear that collaborating with Craig would be an exceptional experience. Early meetings revealed just how personable and invested Craig is. He works closely with every department to ensure that each episode is done to the highest level. Craig places unwavering trust in our VFX Supervisor, Alex Wang. They have an understanding between them that lends to an exceptional partnership. As the VFX Producer, I know how vital the dynamic between the Showrunner and VFX Supervisor is; working with these two has made for one of the best professional experiences of my career.  Photograph by Liane Hentscher/HBO How has your collaboration with Craig evolved between the first and second seasons? Were there any adjustments in the visual approach or narrative techniques you made this season? Alex Wang // Since everything was new in Season 1, we dedicated a lot of time and effort to exploring the show’s visual language, and we all learned a great deal about what worked and what didn’t for the show. In my initial conversations with Craig about Season 2, it was clear that he wanted to expand the show’s scope by utilizing what we established and learned in Season 1. He felt significantly more at ease fully committing to using VFX to help tell the story this season. The first season involved multiple VFX studios to handle the complexity of the effects. How did you divide the work among different studios for the second season? Alex Wang // Most of the vendors this season were also in Season 1, so we already had a shorthand. The VFX Producer, Fiona Campbell Westgate, and I work closely together to decide how to divide the work among our vendors. The type of work needs to be well-suited for the vendor and fit into our budget and schedule. We were extremely fortunate to have the vendors we did this season. I want to take this opportunity to thank Weta FX, DNEG, RISE, Distillery VFX, Storm Studios, Important Looking Pirates, Blackbird, Wylie Co., RVX, and VDK. We also had ILM for concept art and Digital Domain for previs. Fiona Campbell Westgate // Alex Wang and I were very aware of the tight delivery schedule, which added to the challenge of distributing the workload. We planned the work based on the individual studio’s capabilities, and tried not to burden them with back to back episodes wherever possible. Fortunately, there was shorthand with vendors from Season One, who were well-acquainted with the process and the quality of work the show required. The town of Jackson is a key location in The Last of Us. Could you explain how you approached creating and expanding this environment for the second season? Alex Wang // Since Season 1, this show has created incredible sets. However, the Jackson town set build is by far the most impressive in terms of scope. They constructed an 822 ft x 400 ft set in Minaty Bay that resembled a real town! I had early discussions with Production Designer Don MacAulay and his team about where they should concentrate their efforts and where VFX would make the most sense to take over. They focused on developing the town’s main street, where we believed most scenes would occur. There is a big reveal of Jackson in the first episode after Ellie comes out of the barn. Distillery VFX was responsible for the town’s extension, which appears seamless because the team took great pride in researching and ensuring the architecture aligned with the set while staying true to the tone of Jackson, Wyoming. Fiona Campbell Westgate // An impressive set was constructed in Minaty Bay, which served as the foundation for VFX to build upon. There is a beautiful establishing shot of Jackson in Episode 1 that was completed by Distillery, showing a safe and almost normal setting as Season Two starts. Across the episodes, Jackson set extensions were completed by our partners at RISE and Weta. Each had a different phase of Jackson to create, from almost idyllic to a town immersed in Battle.  What challenges did you face filming Jackson on both real and virtual sets? Was there a particular fusion between visual effects and live-action shots to make it feel realistic? Alex Wang // I always advocate for building exterior sets outdoors to take advantage of natural light. However, the drawback is that we cannot control the weather and lighting when filming over several days across two units. In Episode 2, there’s supposed to be a winter storm in Jackson, so maintaining consistency within the episode was essential. On sunny and rainy days, we used cranes to lift large 30x60ft screens to block the sun or rain. It was impossible to shield the entire set from the rain or sun, so we prioritized protecting the actors from sunlight or rain. Thus, you can imagine there was extensive weather cleanup for the episode to ensure consistency within the sequences. Fiona Campbell Westgate // We were fortunate that production built a large scale Jackson set. It provided a base for the full CG Jackson aerial shots and CG Set Extensions. The weather conditions at Minaty Bay presented a challenge during the filming of the end of the Battle sequence in Episode 2. While there were periods of bright sunshine, rainfall occurred during the filming of the end of the Battle sequence in Episode 2. In addition to the obvious visual effects work, it became necessary to replace the ground cover. Photograph by Liane Hentscher/HBO The attack on Jackson by the horde of infected in season 2 is a very intense moment. How did you approach the visual effects for this sequence? What techniques did you use to make the scale of the attack feel as impressive as it did? Alex Wang // We knew this would be a very complex sequence to shoot, and for it to be successful, we needed to start planning with the HODs from the very beginning. We began previs during prep with Weta FX and the episode’s director, Mark Mylod. The previs helped us understand Mark and the showrunner’s vision. This then served as a blueprint for all departments to follow, and in many instances, we filmed the previs. Fiona Campbell Westgate // The sheer size of the CG Infected Horde sets the tone for the scale of the Battle. It’s an intimidating moment when they are revealed through the blowing snow. The addition of CG explosions and atmospheric effects contributed in adding scale to the sequence.  Can you give us an insight into the technical challenges of capturing the infected horde? How much of the effect was done using CGI, and how much was achieved with practical effects? Alex Wang // Starting with a detailed previs that Mark and Craig approved was essential for planning the horde. We understood that we would never have enough stunt performers to fill a horde, nor could they carry out some stunts that would be too dangerous. I reviewed the previs with Stunt Coordinator Marny Eng numerous times to decide the best placements for her team’s stunt performers. We also collaborated with Barrie Gower from the Prosthetics team to determine the most effective allocation of his team’s efforts. Stunt performers positioned closest to the camera would receive the full prosthetic treatment, which can take hours. Weta FX was responsible for the incredible CG Infected horde work in the Jackson Battle. They have been a creative partner with HBO’s The Last of Us since Season 1, so they were brought on early for Season 2. I began discussions with Weta’s VFX supervisor, Nick Epstein, about how we could tackle these complex horde shots very early during the shoot. Typically, repetition in CG crowd scenes can be acceptable, such as armies with soldiers dressed in the same uniform or armour. However, for our Infected horde, Craig wanted to convey that the Infected didn’t come off an assembly line or all shop at the same clothing department store. Any repetition would feel artificial. These Infected were once civilians with families, or they were groups of raiders. We needed complex variations in height, body size, age, clothing, and hair. We built our base library of Infected, and then Nick and the Weta FX team developed a “mix and match” system, allowing the Infected to wear any costume and hair groom. A procedural texturing system was also developed for costumes, providing even greater variation. The most crucial aspect of the Infected horde was their motion. We had numerous shots cutting back-to-back with practical Infected, as well as shots where our CG Infected ran right alongside a stunt horde. It was incredibly unforgiving! Weta FX’s animation supervisor from Season 1, Dennis Yoo, returned for Season 2 to meet the challenge. Having been part of the first season, Dennis understood the expectations of Craig and Neil. Similar to issues of model repetition within a horde, it was relatively easy to perceive repetition, especially if they were running toward the same target. It was essential to enhance the details of their performances with nuances such as tripping and falling, getting back up, and trampling over each other. There also needed to be a difference in the Infected’s running speed. To ensure we had enough complexity within the horde, Dennis motion-captured almost 600 unique motion cycles. We had over a hundred shots in episode 2 that required CG Infected horde. Fiona Campbell Westgate // Nick Epstein, Weta VFX Supervisor, and Dennis Yoo, Weta Animation Supervisor, were faced with having to add hero, close-up Horde that had to integrate with practical Stunt performers. They achieved this through over 60 motion capture sessions and running it through a deformation system they developed. Every detail was applied to allow for a seamless blend with our practical Stunt performances. The Weta team created a custom costume and hair system that provided individual looks to the CG Infected Horde. We were able to avoid the repetitive look of a CG crowd due to these efforts. The movement of the infected horde is crucial for the intensity of the scene. How did you manage the animation and simulation of the infected to ensure smooth and realistic interaction with the environment? Fiona Campbell Westgate // We worked closely with the Stunt department to plan out positioning and where VFX would be adding the CG Horde. Craig Mazin wanted the Infected Horde to move in a way that humans cannot. The deformation system kept the body shape anatomically correct and allowed us to push the limits from how a human physically moves.  The Bloater makes a terrifying return this season. What were the key challenges in designing and animating this creature? How did you work on the Bloater’s interaction with the environment and other characters? Alex Wang // In Season 1, the Kansas City cul-de-sac sequence featured only a handful of Bloater shots. This season, however, nearly forty shots showcase the Bloater in broad daylight during the Battle of Jackson. We needed to redesign the Bloater asset to ensure it looked good in close-up shots from head to toe. Weta FX designed the Bloater for Season 1 and revamped the design for this season. Starting with the Bloater’s silhouette, it had to appear large, intimidating, and menacing. We explored enlarging the cordyceps head shape to make it feel almost like a crown, enhancing the Bloater’s impressive and strong presence. During filming, a stunt double stood in for the Bloater. This was mainly for scale reference and composition. It also helped the Infected stunt performers understand the Bloater’s spatial position, allowing them to avoid running through his space. Once we had an edit, Dennis mocapped the Bloater’s performances with his team. It is always challenging to get the motion right for a creature that weighs 600 pounds. We don’t want the mocap to be overly exaggerated, but it does break the character if the Bloater feels too “light.” The brilliant animation team at Weta FX brought the Bloater character to life and nailed it! When Tommy goes head-to-head with the Bloater, Craig was quite specific during the prep days about how the Bloater would bubble, melt, and burn as Tommy torches him with the flamethrower. Important Looking Pirates took on the “Burning Bloater” sequence, led by VFX Supervisor Philip Engstrom. They began with extensive R&D to ensure the Bloater’s skin would start to bubble and burn. ILP took the final Bloater asset from Weta FX and had to resculpt and texture the asset for the Bloater’s final burn state. Craig felt it was important for the Bloater to appear maimed at the end. The layers of FX were so complex that the R&D continued almost to the end of the delivery schedule. Fiona Campbell Westgate // This season the Bloater had to be bigger, more intimidating. The CG Asset was recreated to withstand the scrutiny of close ups and in daylight. Both Craig Mazin and Neil Druckmann worked closely with us during the process of the build. We referenced the game and applied elements of that version with ours. You’ll notice that his head is in the shape of crown, this is to convey he’s a powerful force.  During the Burning Bloater sequence in Episode 2, we brainstormed with Philip Engström, ILP VFX Supervisor, on how this creature would react to the flamethrower and how it would affect the ground as it burns. When the Bloater finally falls to the ground and dies, the extraordinary detail of the embers burning, fluid draining and melting the surrounding snow really sells that the CG creature was in the terrain.  Given the Bloater’s imposing size, how did you approach its integration into scenes with the actors? What techniques did you use to create such a realistic and menacing appearance? Fiona Campbell Westgate // For the Bloater, a stunt performer wearing a motion capture suit was filmed on set. This provided interaction with the actors and the environment. VFX enhanced the intensity of his movements, incorporating simulations to the CG Bloater’s skin and muscles that would reflect the weight and force as this terrifying creature moves.  Seattle in The Last of Us is a completely devastated city. Can you talk about how you recreated this destruction? What were the most difficult visual aspects to realize for this post-apocalyptic city? Fiona Campbell Westgate // We were meticulous in blending the CG destruction with the practical environment. The flora’s ability to overtake the environment had to be believable, and we adhered to the principle of form follows function. Due to the vastness of the CG devastation it was crucial to avoid repetitive effects. Consequently, our vendors were tasked with creating bespoke designs that evoked a sense of awe and beauty. Was Seattle’s architecture a key element in how you designed the visual effects? How did you adapt the city’s real-life urban landscape to meet the needs of the story while maintaining a coherent aesthetic? Alex Wang // It’s always important to Craig and Neil that we remain true to the cities our characters are in. DNEG was one of our primary vendors for Boston in Season 1, so it was natural for them to return for Season 2, this time focusing on Seattle. DNEG’s VFX Supervisor, Stephen James, who played a crucial role in developing the visual language of Boston for Season 1, also returns for this season. Stephen and Melaina Maceled a team to Seattle to shoot plates and perform lidar scans of parts of the city. We identified the buildings unique to Seattle that would have existed in 2003, so we ensured these buildings were always included in our establishing shots. Overgrowth and destruction have significantly influenced the environments in The Last of Us. The environment functions almost as a character in both Season 1 and Season 2. In the last season, the building destruction in Boston was primarily caused by military bombings. During this season, destruction mainly arises from dilapidation. Living in the Pacific Northwest, I understand how damp it can get for most of the year. I imagined that, over 20 years, the integrity of the buildings would be compromised by natural forces. This abundant moisture creates an exceptionally lush and vibrant landscape for much of the year. Therefore, when designing Seattle, we ensured that the destruction and overgrowth appeared intentional and aesthetically distinct from those of Boston. Fiona Campbell Westgate // Led by Stephen James, DNEG VFX Supervisor, and Melaina Mace, DNEG DFX Supervisor, the team captured photography, drone footage and the Clear Angle team captured LiDAR data over a three-day period in Seattle. It was crucial to include recognizable Seattle landmarks that would resonate with people familiar with the game.  The devastated city almost becomes a character in itself this season. What aspects of the visual effects did you have to enhance to increase the immersion of the viewer into this hostile and deteriorated environment? Fiona Campbell Westgate // It is indeed a character. Craig wanted it to be deteriorated but to have moments where it’s also beautiful in its devastation. For instance, in the Music Store in Episode 4 where Ellie is playing guitar for Dina, the deteriorated interior provides a beautiful backdrop to this intimate moment. The Set Decorating team dressed a specific section of the set, while VFX extended the destruction and overgrowth to encompass the entire environment, immersing the viewer in strange yet familiar surroundings. Photograph by Liane Hentscher/HBO The sequence where Ellie navigates a boat through a violent storm is stunning. What were the key challenges in creating this scene, especially with water simulation and the storm’s effects? Alex Wang // In the concluding episode of Season 2, Ellie is deep in Seattle, searching for Abby. The episode draws us closer to the Aquarium, where this area of Seattle is heavily flooded. Naturally, this brings challenges with CG water. In the scene where Ellie encounters Isaac and the W.L.F soldiers by the dock, we had a complex shoot involving multiple locations, including a water tank and a boat gimbal. There were also several full CG shots. For Isaac’s riverine boat, which was in a stormy ocean, I felt it was essential that the boat and the actors were given the appropriate motion. Weta FX assisted with tech-vis for all the boat gimbal work. We began with different ocean wave sizes caused by the storm, and once the filmmakers selected one, the boat’s motion in the tech-vis fed the special FX gimbal. When Ellie gets into the Jon boat, I didn’t want it on the same gimbal because I felt it would be too mechanical. Ellie’s weight needed to affect the boat as she got in, and that wouldn’t have happened with a mechanical gimbal. So, we opted to have her boat in a water tank for this scene. Special FX had wave makers that provided the boat with the appropriate movement. Instead of guessing what the ocean sim for the riverine boat should be, the tech- vis data enabled DNEG to get a head start on the water simulations in post-production. Craig wanted this sequence to appear convincingly dark, much like it looks out on the ocean at night. This allowed us to create dramatic visuals, using lightning strikes at moments to reveal depth. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? Alex Wang // The Last of Us tells the story of our characters’ journey. If you look at how season 2 begins in Jackson, it differs significantly from how we conclude the season in Seattle. We seldom return to the exact location in each episode, meaning every episode presents a unique challenge. The scope of work this season has been incredibly rewarding. We burned a Bloater, and we also introduced spores this season! Photograph by Liane Hentscher/HBO Looking back on the project, what aspects of the visual effects are you most proud of? Alex Wang // The Jackson Battle was incredibly complex, involving a grueling and lengthy shoot in quite challenging conditions, along with over 600 VFX shots in episode 2. It was truly inspiring to witness the determination of every department and vendor to give their all and create something remarkable. Fiona Campbell Westgate // I am immensely proud of the exceptional work accomplished by all of our vendors. During the VFX reviews, I found myself clapping with delight when the final shots were displayed; it was exciting to see remarkable results of the artists’ efforts come to light.  How long have you worked on this show? Alex Wang // I’ve been on this season for nearly two years. Fiona Campbell Westgate // A little over one year; I joined the show in April 2024. What’s the VFX shots count? Alex Wang // We had just over 2,500 shots this Season. Fiona Campbell Westgate // In Season 2, there were a total of 2656 visual effects shots. What is your next project? Fiona Campbell Westgate // Stay tuned… A big thanks for your time. WANT TO KNOW MORE?Blackbird: Dedicated page about The Last of Us – Season 2 website.DNEG: Dedicated page about The Last of Us – Season 2 on DNEG website.Important Looking Pirates: Dedicated page about The Last of Us – Season 2 website.RISE: Dedicated page about The Last of Us – Season 2 website.Weta FX: Dedicated page about The Last of Us – Season 2 website. © Vincent Frei – The Art of VFX – 2025 #last #season #alex #wang #production

A Deadly Disease Is Eating Away at Caribbean Corals and Wreaking Havoc on Reefs. Could Probiotics Be the Solution? New research suggests the probiotic McH1-7 could help stop the spread of stony coral tissue loss disease among wild corals near Fort Lauderdale, Florida Scientists determined the most effective method of halting the disease was covering a coral colony with a weighted plastic bag, then injecting a seawater solution that contains the probiotic. They left the colony covered for two hours to allow the probiotic bacteria to colonize the coral. Hunter Noren Probiotics can be good for human health. Now, new research suggests they might also help protect coral reefs. A bacterial probiotic helped slow the advance of stony coral tissue loss disease—a fast-spreading and deadly condition—among wild corals in Florida, researchers report today in a new study published in the journal Frontiers in Marine Science. The probiotic may be a good alternative to antibiotics like amoxicillin, which temporarily curb the spread of the disease but must be reapplied frequently. In addition, scientists fear stony coral tissue loss disease may one day become resistant to these antibiotic treatments—just as “superbugs” that infect humans are building resistance to our own drugs. Antibiotics are meant to kill microorganisms, but probiotics are beneficial living microbes. The idea is that a probiotic can be incorporated into corals’ natural microbiomes, ideally offering them longer-lasting protection. First discovered in Florida in 2014, stony coral tissue loss disease attacks the soft tissue of more than 30 different species of coral. Without treatment, the disease eventually kills the corals, and their soft tissue falls off, revealing the white calcium carbonate skeleton below. In just weeks or months, it can devastate a whole colony. Stony coral tissue loss disease can be spread by fish that eat coral, as well as by boaters and divers who do not disinfect their gear. The condition has since expanded its range beyond Florida to reefs throughout the Caribbean. Several years ago, researchers looking at the great star coral discovered a probiotic called Pseudoalteromonas sp. strain McH1-7. Laboratory tests showed McH1-7 stopped or slowed the progression of stony coral tissue loss disease in infected corals. It also helped prevent the disease from spreading to healthy corals. But that was in the lab. Would McH1-7 be similarly effective in the ocean? Researchers were eager to find out, so they set up an experiment on a shallow reef off the coast of Fort Lauderdale. Study co-author Kelly Pitts, a research technician with the Smithsonian Marine Station, applies a paste containing the probiotic directly onto the disease lesion of an infected coral. Hunter Noren Experimenting with wild corals For the study, the scientists focused on 40 great star coral colonies that were showing symptoms of stony coral tissue loss disease. In one experimental condition, the researchers made a paste that contained McH1-7 and applied it directly onto the disease lesions. For comparison, they also applied the same paste, minus the probiotic, to some corals. In another condition, they covered infected coral colonies with weighted plastic bags, then filled the bags with seawater solutions made with and without McH1-7. They left the corals covered for two hours. “This created a little mini-aquarium that kept the probiotics around each coral colony,” says study co-author Valerie Paul, head scientist at the Smithsonian Marine Station at Fort Pierce, Florida, in a statement. The scientists completed all the treatments within the first 4.5 months of the project. Then, they returned periodically to gather tissue and mucus samples from the corals to measure changes to their microbiomes. Over the next 2.5 years, they took photos from a variety of different angles, which they then used to create 3D models that could track the disease’s progression. In the end, the results suggest covering the corals with plastic bags filled with the probiotic seawater solution was the most effective method. More than two years post-treatment, the colonies that received the probiotic bag had lost just 7 percent of their tissue, while colonies in the control bag condition faced 35 percent tissue loss. Scientists applied a probiotic paste directly to disease lesions on some corals. Kelly Pitts The probiotic paste, by contrast, appears to have made the situation worse: The corals that had the probiotic paste applied directly to their lesions lost more tissue than those treated with the control paste, which did not contain McH1-7. “We do not really know what is going on with the probiotic paste treatment,” Paul tells Smithsonian magazine in an email. But she has a few theories. It’s possible the high concentrations of McH1-7 contributed to localized hypoxia, or low-oxygen conditions that further harmed the already stressed corals, she says. Or, the probiotic could have changed the microbiome at the lesion site in some negative way. Another possibility is that McH1-7 produces antibiotics or other substances that were harmful at high concentrations. Amanda Alker, a marine microbiologist at the University of Rhode Island who was not involved with the study, wonders if this finding suggests McH1-7 is beneficial at specific dosages—a question future laboratory research might be able to answer, she tells Smithsonian magazine in an email. She’s also curious to know which specific molecular components of the probiotic are responsible for the increased tissue loss when applied as a paste. More broadly, Alker would like to see additional experiments validating the bag treatment method, but she says this “inventive” technique seems promising. “Their approach is a safer solution than antibiotic treatment methods that have been deployed to combatin the field so far,” she says. “Further, this is a practical solution that could be implemented widely because it doesn’t require highly specialized equipment and has the ability to be used with any type of microbial solution.” Looking ahead to save reefs Probiotics are likely not a silver bullet for protecting corals. For one, researchers still don’t know exactly what causes stony coral tissue loss disease, which makes it difficult to determine how or why the probiotic works, Paul says. In addition, since the disease has spread to many different parts of the Caribbean, it might be challenging to use the bag treatment technique on all affected colonies. “We would need to develop better methods of deploying the probiotic through time release formulations or other ways to scale up treatments,” Paul says. “Right now, having divers swim around underwater with weighted bags is not a very scalable method.” The researchers have also conducted similar experiments on infected corals located farther south, in the Florida Keys. However, these tests have produced mixed results, probably because of regional differences in stony coral tissue loss disease. This is another hurdle scientists will likely need to overcome if they hope to expand the use of probiotics. “We probably need to develop different probiotics for different coral species and different regions of the Caribbean,” Paul says. Researchers returned to gather samples of tissues and mucus to see how the corals' microbiomes had changed. Hunter Noren Even so, scientists are heartened by the results of the experiments conducted near Fort Lauderdale. With more research, the findings suggest probiotics could be a promising tool for combatting the disease elsewhere. “Coral probiotics is a challenging field, because there are hundreds of different types of bacteria that associate with corals, and there are limitless experiments that need to be performed,” Amy Apprill, a marine chemist at Woods Hole Oceanographic Institution who was not involved with the research, tells Smithsonian magazine in an email. “These researchers made a major advance with their study by demonstrating the utility of whole colony treatment as well as the specific probiotic tested.” Apprill adds that, while antibiotics have been widely used to control stony coral tissue loss disease, scientists haven’t conducted much research to see how these treatments are affecting the plants and creatures that live nearby. “Using a naturally occurring bacterium for disease treatment may result in lessened impacts to other members of the coral reef ecosystem,” she says. Amid rising ocean temperatures, scientists expect to find even more diseased coral colonies in the future. Warmer waters may also allow other pathogens to thrive and proliferate. Against that backdrop, Apprill adds, probiotics and the different methods of applying them will be “major allies” in the fight to save coral reefs. Paul is also optimistic. Through research and field studies, she’s confident researchers will be able to develop interventions that can “help corals better survive changing environments and respond better to diseases and bleaching,” she says. Get the latest stories in your inbox every weekday. #deadly #disease #eating #away #caribbean

Designing a girly bedroom is about so much more than picking a pretty color. It’s about creating a space that reflects personality, inspires creativity, and feels like a true escape, whether it’s for a little girl, a growing tween, or a style-loving teen. From playful wallpaper tricks to smart storage ideas and cozy reading nooks, the right design choices can turn a simple bedroom into something magical and meaningful. In this guide, we’re skipping over-the-top themes and diving into real, creative design tips that anyone can use. Whether you’re decorating from scratch or giving an existing space a fresh update, these 15 girly bedroom ideas will help you build a room that’s both beautiful and completely personal. Let’s get into the ideas that make a room not just look pretty,but feel like home. 1. Master the Mix-and-Match Look Image Source: House Beautiful Mixing and matching styles, textures, and prints can create a beautifully curated bedroom full of personality. Instead of sticking to one look, combine modern and vintage pieces or pair graphic prints with soft florals. You might match a velvet headboard with rattan nightstands, or polka dot bedding with a plaid throw.  The key is consistency in your color palette,stick to 2–3 dominant hues to make the mix feel intentional. Balance is essential: if you’re using a bold pattern on the bed, keep the walls subtle. This technique creates a room that feels playful, personal, and effortlessly stylish. 2. Be Creative with Wallpaper Image Source: Ghayda Nsour Wallpaper can completely transform a room,but don’t stop at the walls! Use it behind shelves, inside closets, on the ceiling, or even on drawer fronts. Choose designs that reflect your personality, like watercolor florals, animal prints, or dreamy clouds. For a modern look, try graphic shapes in soft pastels. Use peel-and-stick wallpaper if you’re renting or want a low-commitment option. Mix one bold feature wall with neutral paint elsewhere to keep the space grounded. Wallpaper isn’t just background,it’s a design statement that can define the whole vibe of the room. 3. Create a Magical Reading Nook Image Source: House Beautiful A cozy, magical reading nook makes a bedroom feel like a retreat. Pick a quiet corner by the window or even under a loft bed. Add a plush bean bag, floor cushions, or a hanging chair. Use soft lighting,think fairy lights or a mushroom-shaped lamp,and layer in blankets and pillows.  Install a small bookshelf or floating ledges for easy access to books. Add a canopy or sheer curtain for privacy and charm. This tiny space becomes a personal hideaway, perfect for getting lost in a book or daydreaming in comfort. 4. Keep Things Crisp with White and Neutrals Image Source: House Beautiful A white or neutral color scheme is timeless, clean, and chic. Use white walls as a canvas, then layer in soft greys, taupes, or blush accents for warmth. Choose bedding with subtle embroidery or ruffles, and use natural textures like linen, cotton, and jute to add depth.  Light-colored wood furniture adds to the serene vibe. This look works beautifully in both small and large spaces, as it keeps everything bright and airy. Add interest with small pops of color,like a lavender throw or gold-accented lamp,to keep it from feeling too sterile. 5. Design a Fairy Tale Hideaway Image Source: House Beautiful Bring fairy tale magic to life with soft, whimsical touches. Start with pastel or dusty-tone paint,think lilac, blush, or icy blue. Add a canopy over the bed with tulle or lace, and incorporate soft lighting like fairy lights or a tiny chandelier. Choose furniture with elegant curves, like a vintage-inspired vanity or a carved wood headboard.  Add elements like star-shaped pillows, storybook art prints, or a tiny dress-up corner. This style isn’t just for little girls,it can be adapted for any age with the right balance of enchantment and elegance. 6. Try an Unexpected Color Scheme Image Source: House Beautiful Go beyond typical “girly” colors and experiment with fresh combinations. Try pairing emerald green with blush pink, or mustard yellow with lavender. Using non-traditional combos instantly modernizes the space.  To keep it cohesive, let one color dominate while the other plays a supporting role. You can also anchor the palette with neutral base tones like white, grey, or wood textures. Use the fun color in accessories, pillows, rugs, art, and let the secondary color pop through bedding or an accent wall. This bold choice makes the room stand out and feel grown-up and creative. 7. Make a Statement with an Accent Wall Image Source: Samar Gamal A bold accent wall can completely elevate a girly bedroom without overwhelming the space. To create a showstopping backdrop, choose a rich color, velvet paneling, or wallpaper with texture or pattern. Framing the wall with architectural elements—like arches or built-in lighting, adds even more drama and depth. This technique works beautifully behind the bed, transforming it into a focal point. Keep the surrounding walls neutral so the accent shines, and tie the rest of the room’s palette into the wall’s tones through bedding, curtains, or rugs. Whether soft or striking, an accent wall sets the tone for the entire space. 8. Create a Personalized Gallery Wall Image Source: Samira Mahmudlu Turn a blank wall into a living collage of favorite things. Mix framed art prints, personal photos, inspirational quotes, and even fabric swatches or pressed flowers. Use a variety of frame shapes and sizes for an eclectic look, or keep them uniform for a cleaner style. Arrange everything on the floor first to find the perfect layout before you hang. This gallery wall becomes a rotating story of who she is,what she loves, what inspires her, and where she dreams of going. It’s an easy way to update the space regularly. 9. Add a Canopy or Curtain Accent Image Source: House Beautiful Canopies aren’t just for beds, use soft, sheer curtains to frame a reading corner, a vanity, or even an entire wall. Install ceiling hooks or curtain rods to drape the fabric, and layer with twinkle lights for added charm. Choose materials like tulle, gauze, or voile in light pastel tones to keep things dreamy. This instantly gives the room a soft, cozy vibe and creates that “fairy tale” feel without going over the top. 10. Make Storage Beautiful and Practical Image Source: House Beautiful Smart storage is essential, but it can also be part of the decor. Use decorative bins in woven, velvet, or metallic finishes. Floating wall cubes can hold books, plants, or collectibles.  Opt for under-bed storage drawers or a bed frame with built-in shelves. A cute coat rack, jewelry organizer, or peg rail keeps accessories tidy and stylish. When everything has its place, the room feels more peaceful and easier to enjoy. 11. Embrace Pink as a Primary Design Element Don’t just use pink as an accent, let it lead the entire design. Choose a range of tones like blush, rose, and dusty mauve, then layer them throughout the space: on walls, bedding, furniture, and décor. Vary the textures to prevent the room from feeling flat, think velvet upholstery, cotton bedding, matte finishes, and metallic accents.  Pair your pinks with soft neutrals like white, beige, or light wood to balance the color and keep the room light and breathable. Pink doesn’t have to be overly sweet; with the right shades and balance, it feels calm, modern, and elegant. This approach works beautifully for girls’ rooms that want to lean feminine without feeling too “theme-y.” 12. Use Architectural Curves and Built-In Shapes Image Source: Kaiwan Hamza Incorporating soft curves in your design instantly adds charm and sophistication. Instead of standard square furniture and sharp lines, opt for arched wall cutouts, rounded shelves, circular reading nooks, and oval mirrors. You can mimic architectural curves through painted arches, custom cabinetry, or even curved headboards.  These shapes soften the room’s feel and make it visually unique. For a truly cohesive look, repeat the curve motif across several areas, window treatments, lighting, or even rugs. This technique is especially powerful when paired with soft colors and layered textures, as it creates a space that feels whimsical yet mature. 13. Stick to the Classics Image Source: Sara Al Refai There’s a reason some design elements never go out of style,they work. Sticking to the classics means using timeless materials, shapes, and palettes that grow with the child. Think white furniture, soft pink or lavender walls, floral bedding, and elegant drapery.  Go for a tufted headboard, framed artwork, and crystal-inspired lighting for a touch of sophistication. These pieces can be updated with accessories as tastes change, but the core elements remain versatile and stylish. This approach also helps future-proof the room, saving time and money on constant redecoration. If you’re unsure where to start, lean into a classic French or vintage-inspired style, delicate moldings, soft patterns, and warm lighting are always a win. 14. Design with Symmetry for a Polished Look Image Source: Menna Hussien Symmetry creates balance, calm, and a naturally pleasing layout, especially in shared bedrooms. This image is a perfect example: identical beds, mirrored bedding, and a centered nightstand create harmony and order. To use this concept in a girly bedroom, start by repeating core pieces on each side, beds, lamps, pillows, or wall sconces.  Choose neutral tones like beige, blush, or ivory to maintain a serene vibe. You can also mirror wall decor or shelving to extend the symmetry across the space. It doesn’t need to be exact, balance can come from visual weight, not just identical pieces. This method works particularly well for siblings, guest rooms, or for a clean and elegant design that feels effortlessly organized. 15. Design a Minimalistic Girly Bedroom Image Source: Miral Tarek Minimal doesn’t mean boring, it means intentional. A minimal girly bedroom uses clean lines, soft pastels, and refined details to create a calm, elevated space. Stick to a restrained color palette like blush and powder blue, then let furniture and texture do the talking. Choose sleek pieces: a tufted headboard, elegant side tables, and delicate lighting. Avoid clutter by limiting accessories and keeping surfaces clean. One or two standout piecesadd character without overloading the room. The result is peaceful, polished, and perfect for a girl who prefers subtle over sparkly. Finishing Notes Designing a girly bedroom isn’t about following trends or sticking to one color—it’s about creating a space that reflects personality, sparks imagination, and grows with time. Whether you’re planning a soft pastel retreat, a bold and modern haven, or something whimsical in between, the ideas shared here are meant to inspire creativity and confidence in your design choices. At Home Designing, we believe that every corner of a home, especially a child’s bedroom, should be both beautiful and functional. Our mission is to help you transform everyday spaces into something extraordinary through smart layouts, thoughtful details, and timeless inspiration. #dreamy #girly #bedroom #ideas #youll

The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants. More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way. “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.” Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event. Matter.Made Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier. N. Shook Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery. Avram Rusu Studio Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow. Riffmade Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time. Jackrabbit Studio for Roll & Hill The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets. Ford Bostwick Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs. Yamazaki Home Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home. Fort Standard Hardware Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications. M.Pei StudioMaggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection. A Space Studio Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture. Michiko Sakano Studio Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses. John Wells Heavy Metal & FDK Junior In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves. Heako Studio A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial. Garnier Pingree Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax. #inspiring #designers #shelters #showcase #afternoon

Just finished watching Netflix's latest crime drama set in my hometown, and wow, what a transformation! The series captures the gritty essence and hidden corners of our city in a way I never expected, turning familiar streets into a noirish backdrop for thrilling mysteries. It's fascinating to see the places I know so well depicted with such intensity and intrigue. While the show amplifies the darker side of our community, it also sparks a sense of pride in the unique stories our city has to tell. Who knew that my everyday surroundings could become the perfect stage for suspense and drama? Can't wait to discuss this with fellow fans! #CrimeDrama #Netflix #LocalPride #BingeWorthy #CityStories

Imagine cozying up under the stars after a day of adventures, with a film projected on a screen instead of squinting at a tiny iPad. As a DIY campervan enthusiast, I can’t recommend Anker's Nebula Mars 3 Air enough for those who crave cinematic experiences while camping. Its portability and impressive image quality transform any outdoor setting into a mini-theater, making it perfect for movie nights with friends or family. I love how it brings an extra layer of joy to our road trips, allowing us to unwind and enjoy shared stories against the backdrop of nature. If you're looking to elevate your camping game, this projector is a game changer! 🌌🍿 #CampingLife #OutdoorMovies #TechOnTheGo #CamperVanAdventures #AnkerNebula