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

ZDNET's key takeaways The 12-inch Microsoft Surface Pro is available now starting at for the Platinum color, and for the new Violet and Ocean colors. The 12-inch version is exceedingly thin and light with a fast-charging battery, and the refreshed form factor looks more premium. The 256GB of storage is not enough for a device at this price point, and the cost adds up quickly, as the keyboard, mouse, and even the power adapter are sold separately. more buying choices Microsoft's 2025 12-inch Surface Pro is thinner, lighter, and a little more affordable, with a battery-efficient Snapdragon X Plus processor and refreshed design. The latest version of the Surface Pro rounds out the lineup with a more affordable option focused on ultra-long battery life, new colors, and redesigned accessories to show off Windows' latest Copilot+ PC features. Also: I recommend this HP laptop to creatives and business pros alike - especially at nearly 50% offI recently replaced my laptop with the 12-inch Surface Pro for more than two weeks now, and the Surface Pro seems to me to be more of an addition to the current lineup than a standalone upgrade, particularly in comparison to the enterprise models Microsoft released in January.The 2025 Surface Pro has relatively modest hardware, with 16GB of RAM and 256GB or 512GB of UFS storage, instead targeting a more everyday consumer who makes use of on-device AI and appreciates the ultraportability.  details View at Best Buy Besides the smaller form factor, this year's Surface Pro comes in two new colors: Violet and Ocean. The default Platinum color starts at whereas the other two will run you bringing the starting price a little further away from that advertised low price. I must admit that the design on the 12-inch tablet looks better. It looks more like a premium tabletwith rounded corners, thin bezels, and the webcam moved to the back corner of the device. Also: Microsoft unveils new AI agent customization and oversight features at Build 2025Additionally, I'm a fan of the new Violet and Ocean colorways, which aren't what I'd call "bold", but at least they're not the same desaturated pastels we see everywhere else. The colors extend to the Surface Pro keyboards, which are updated by removing the alcantara fabric on the front of the keyboard for a cleaner, monochromatic matte look. Instead, the fabric is relegated to the back of the keyboard case, which has a more premium tablet feel for storage and transport. The Surface keyboard is functional and satisfying to type on, with springy keys and a responsive, premium trackpad.  Kyle Kucharski/ZDNETAdditionally, the tablet snaps to the keyboard a little tighter and closer to the tablet now, with no gap in the hinge, giving it a slightly smaller footprint on the desk. The Surface Pen also magnetically snaps to the back of the 12-inch instead of storing on the keyboard. This requires you to store the device with the fabric facing down, as you don't want to squish the pen. When throwing the Surface Pro in a bag, the Pen also tends to stay put but can come unattached if you're not paying attention. Microsoft wants to show off its new AI-driven Copilot+ features, and the 12-inch Surface Pro is a good conduit for marketing them to the consumer, especially with its attractive price point and the 45 TOPS Qualcomm Hexagon NPU. Also: I've tested dozens of work laptops - but I'd take this Lenovo to the office everydayFor example, the long-awaited Recall feature is still in Preview mode, but it's getting closer to a useful state. Other applications that leverage AI processes, particularly ones for creators like Capcut, Davinci Resolve, and DJay Pro should feel smooth and snappy. This makes it a very AI-ready device for everyday users who don't need high-end hardware for demanding creative projects.  Kyle Kucharski/ZDNETRunning Windows on Qualcomm's Snapdragon X Plus chip shouldn't be too much of a problem for most users in this category, as the areas that saw the most issues with compatibility, like gaming and connecting to legacy software, are more likely not to apply to the targeted user. The 12-inch Surface Pro's modest hardware positions itself as a competitive device in the family's lineup. The aforementioned 16GB of RAM and max 512GB of storage, paired with the Snapdragon X Plus and 2196 x 1464 resolutionLCD display that targets everyday users, while its 13-inch siblings can be loaded up with more premium hardware. Also: This ultraportable Windows laptop raised the bar for the MacBook AirThat being said, the Snapdragon X Plus processor is snappy and responsive, excelling at tasks that the average consumer cares about: fast startup and app load times, smooth multitasking, and solid battery performance, whether in laptop or tablet mode. During my benchmarking of the 12-inch Surface Pro, I got numbers that place it around other thin and light laptops in the same price range, including Asus' Zenbook A14, which also features the Snapdragon X Plus processor, and HP's OmniBook X 14, one of the first Copilot+ PCs with the Snapdragon X Elite chip from 2024.  Cinebench 24 MCGeekbench 6.2.2 SCGeekbench 6.2.2 MC12-inch Microsoft Surface Pro4182,2529,555Asus Zenbook A145412,13310,624HP Omnibook X4702,32613,160 Show more The display is sharp and crisp, but it does cap out at 400 nits of brightness and a 90Hz refresh rate. Since it's a tablet, it's also quite glossy. In the office, for example, I found myself readjusting the device's angle numerous times throughout the day to account for glare from overhead lighting. Also: How to clear the cache on your Windows 11 PCSpeaking of using the Surface Pro in the office, it works equally well as a laptop or a tablet, depending on what you need. Detached from the keyboard and armed with the Surface Pen, it becomes a snappy productivity tablet that allows for note taking, prototyping, and freeform idea generation in Windows' Whiteboard app. You can also assign different actions to the Pen, including starting apps or performing functions with the button on the device or the "clicky" on the end. I will say that the Pen's performance can be variable, though. If you're running multiple programs open in the background, you might notice lag while writing, especially if you're moving quickly.  Kyle Kucharski/ZDNETSimilarly, the location of the front-facing HD camera means that it has a slightly downward-up orientation while connected to the keyboard, as the kickstand can only prop it up so high. Consider a clamshell laptop, for example, which can sit at a 90-degree angle or less. In that sense, untethering the keyboard and using it as a tablet might be more optimal for users who make frequent video calls. Also: The best laptops for graphic designers in 2025: Expert tested and reviewedRegarding battery life, the Snapdragon X Plus processor ensures that it drains at a mere trickle when the device is not in use, and is good enough for over a full day's worth of work on one charge. Microsoft advertises 16 hours of battery life, and I got a little over 15 in our video playback test. Regarding more sustained use, I got over 10 hours on a single charge, which isn't far off from the advertised 12 hours without using all the max battery efficiency settings. Couple this with the fact that the Surface Pro charges extremely fast. From a completely dead battery, you'll get to about 50% in 30 minutes, and around 80% in an hour. Of the Surface Pro family, the 12-inch is certainly the most battery efficient and the fastest to charge. ZDNET's buying adviceThe 12-inch Microsoft Surface Pro completes the family's lineup with a thinner, lighter, and more battery-efficient tablet/laptop hybrid with refreshed colors and design. It comes with slightly more modest hardwarefor a lower starting price of  If you're looking for a functional 2-in-1 tablet/laptop, enjoy using a stylus, and don't need a ton of local storage, it's a great option, especially for its long-lasting battery. It's an all-around sharp-looking device, and the premium keyboard case provides a satisfying tactile experience. Also: How to clear the cache on your Windows 11 PCThe cost of the Surface Pro can quickly add up, however, as the Surface Keyboard, Surface Arc mouse, and power adapter are sold separately, bringing the final cost over the mark. Combined with the low amount of local storage and modest memory, I'd recommend this device for users who are committed to the 12-inch form factor and want reliable battery life. Looking for the next best product? Get expert reviews and editor favorites with ZDNET Recommends.Featured reviews #replaced #laptop #with #microsoft039s #12inch

Outlets 8, Conghua | © Wu Siming In the landscape of contemporary Chinese urbanism, few typologies encapsulate the contradictions of late-capitalist development more vividly than the pseudo-European commercial complex. These replicated enclaves, constructed en masse in the early 2000s, were once marketed as symbols of international sophistication. Over time, however, many were abandoned, becoming architectural vestiges of speculative urbanism. Outlets 8 in Conghua, Guangzhou, is one such project that has undergone a radical architectural reinterpretation. Originally completed in 2018 but long dormant, it has been reimagined by E Plus Design in collaboration with URBANUS/LXD Studio. Through a precise, light-touch intervention, the project avoids wholesale demolition and reprograms space through color, rhythm, and landscape strategy. Outlets 8, Conghua Technical Information Architects1-14: E Plus Design Central Plaza Design: URBANUS / LXD Studio Location: Conghua District, Guangzhou, China Gross Area: 80,882 m2 | 870,000 Sq. Ft. Project Years: 2022 – 2023 Photographs: © Wu Siming This approach is like a contemporary remix of classical music. The four blocks correspond to four movements. Without extensive demolition or altering the European-style architectural rhythm, we reinterpreted the emotional tones, chords, and cadenzas. Through a blend of color and modern gestures, the outdated and disproportionate ‘faux-antique’ complex has been reorchestrated into a contemporary architectural symphony. – Li Fu, Chief Architect at E Plus Design Outlets 8, Conghua Photographs Aerial View | © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Chen Liang Liu Shan © Chen Liang Liu Shan © Chen Liang Liu Shan Outlets 8 Context and Typological Challenge Outlets 8 was initially conceived as a 110,000-square-meter faux-European outlet village. Despite its scale and investment, it struggled to resonate with local cultural dynamics and remained idle. The typology itself, rooted in nostalgic mimicry, was already facing obsolescence. The challenge, then, was not only architectural but also conceptual: how to resuscitate a typology that had become both spatially and culturally inert. The design team chose a strategy of minimal physical intervention coupled with maximal perceptual impact. Rather than demolish or drastically reconstruct, they aimed to re-signify the existing structures. This approach reflects a growing trend in urban renewal across China, where sustainability, cost-efficiency, and cultural specificity take precedence over spectacle. Spatial Transformation Through Chromatic Reprogramming After | © Wu Siming Before | Original Facade, © E+ At the intervention’s core is using color as a spatial and psychological agent. The ornament-heavy facades were stripped of their polychromatic excess and repainted in low-saturation hues. This chromatic cleansing revealed the formal rhythms of the architecture beneath. By doing so, the design avoids mimicry and opts for abstraction, reintroducing clarity to the site’s visual language. The design framework is structured as a musical metaphor, with each of the four blocks conceived as a separate movement in a visual symphony. The street-facing facades, now unified through a golden “variation,” establish a new urban frontage that is both legible and symbolically rich. A ribbon-like golden band traces across the main elevations, creating continuity and contrast between old and new volumes. In contrast, the sports block adopts a cooler, blue-toned palette, offering a different spatial and functional rhythm. New architectural insertions are rendered in transparent materials, signaling temporal and programmatic distinctions. At the center, the elliptical plaza becomes a spatial crescendo, defined by a sculptural intervention inspired by Roman aqueducts. This feature functions as a landmark and a temporal break, juxtaposing historical references with performative landscape elements. Rewriting Landscape as Urban Ecology After | © Wu Siming Before | Original Facade, © E+ Water, derived from the nearby Liuxi River, serves as the thematic and material backbone of the landscape design. Its integration is not symbolic but functional. Water flows through constructed channels, interactive fountains, and sculptural cascades that encourage observation and participation. These elements create a multisensory environment that enhances the spatial experience while reinforcing ecological awareness. The planting strategy emphasizes native species capable of withstanding Guangzhou’s subtropical climate. The design maximizes greenery wherever regulatory conditions allow, particularly along the main entrance, central corridors, and arcaded walkways. The result is a layered landscape that balances visual density with ecological resilience. Integrating landscape and architecture as a singular design operation, the project shifts away from ornamental greening toward environmental synthesis. This approach foregrounds interaction and immersion, aligning with broader shifts in landscape architecture toward performative and participatory ecologies. Programmatic Rebirth and Urban Implications After | © Wu Siming Before | Original Facade, © E+ Beyond formal and material considerations, the project redefines the programmatic potential of large-scale retail environments. Positioned as a “micro-vacation” destination, Outlets 8 is a hybrid typology. It combines retail, leisure, and outdoor experience within a cohesive spatial narrative. This reprogramming responds to changing patterns of consumption and leisure in Chinese cities, particularly among younger demographics seeking experiential value over transactional efficiency. Statistical metrics underscore the project’s social impact. In its first nine days, the outlet attracted over half a million visitors and became a trending location across multiple digital platforms. While not the focus of architectural critique, these figures reflect a successful alignment between spatial renewal and public resonance. More importantly, the project offers a replicable model for dealing with the vast inventory of misaligned commercial developments across China. The intervention avoids nostalgia and cynicism by foregrounding perceptual clarity, ecological integration, and cultural recontextualization. Instead, it offers a clear path forward for reimagining the built remnants of a prior urban paradigm. Outlets 8, Conghua Plans Elevations | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Sections | © E Plus Design Outlets 8, Conghua Image Gallery About E Plus Design E Plus Design is a multidisciplinary architecture studio based in Shenzhen, China, known for its innovative approaches to urban renewal, adaptive reuse, and large-scale public space transformations. The firm emphasizes minimal intervention strategies, spatial clarity, and contextual sensitivity, often working at the intersection of architecture, landscape, and urban design to create integrated environments that are both socially responsive and experientially rich. Credits and Additional Notes Chief Design Consultant: Liu Xiaodu Master Plan, Architecture, and Landscape Schemes: E Plus Design Lead Architects: Li Fu, Coco Zhou Project Managers: Guo Sibo, Huang Haifeng Architectural Design Team: Wang Junli, Zhang Yan, Cai Yidie, Zhu Meng, Lin Zhaomei, Li Geng, Stephane Anil Mamode, Liu Shan, Zhou Yubo Central Plaza Design: URBANUS / LXD Studio Architect of Central Plaza: Liu Xiaodu Project Manager: Li An’hong Facade Design: Song Baolin, Li Minggang Lighting Design: Fang Yuhui Lighting Consultant: Han Du Associates Client: Guangzhou Outlets 8 Commercial Management Co., Ltd. Client Design Management Team: Yin Mingyue, Zhao Xiong Landscape Area: 29,100 m² Chief Landscape Architect: Gao Yan Project Manager: Zhang Yufeng Landscape Design Team: Yu Xiaolei, Li Zhaozhan, Liu Chenghua Landscape Construction Drawings: E Plus Design Project Manager: Wang Bin Design Team: Wang Bin. Huang Jinxiong. Li GenStructural Design Team: Wang Kaiming, Yang Helin, Wu Xingwei, Zhuang Dengfa Electrical Design Team: Sun Wei, Yang Ying Interior Design Concept Design: Shenzhen Juanshi Design Co., Ltd. Chief Interior Designer: Feng Feifan Project Manager: Liu Hongwei Design Team: Niu Jingxian, Shi Meitao Construction Drawings: Shenzhen Shiye Design Co., Ltd. Project Manager: Shen Kaizhen Design Team: Yao Yijian, Yang Hao, Liu Chen Wayfinding Design Studio: Hexi Brand Design Co., Ltd. Curtain Wall Design Firm: Positive Attitude Group #outlets #conghua #plus #design #chromatic

Gironda Residence | © Simone Bossi Located just steps from Piazza del Popolo in Ravenna, the Renaissance-era Casa Guaccimanni holds centuries of architectural and historical weight. Constructed in the fifteenth century for the Venetian podestà Nicolò Giustinian, the building evolved through noble ownership and later became home to Vittorio and Alessandro Guaccimanni, sons of Risorgimento figure Luigi Guaccimanni. Architecturally, the structure is characterized by a tripartite plan with a central corridor flanked by large rooms, an interior courtyard with a double loggia, and decorative elements spanning Renaissance to Neoclassical periods. Once concealed beneath plaster, its frescoed veranda and exposed wooden ceilings speak to a layered history of intervention, concealment, and rediscovery. Gironda Residence in Casa Guaccimanni Technical Information Architects1-13: Giovanni Mecozzi Architetti Location: Casa Guaccimanni, Via Armando Diaz, Ravenna, Italy Client: Emanuela Docimo Project Years: 2022 – 2024 Original Structure: 15th Century Photographs: © Andrea Sestito, © Simone Bossi, © Omar Sartor The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension. – Giovanni Mecozzi Gironda Residence in Casa Guaccimanni Photographs © Omar Sartor © Andrea Sestito © Andrea Sestito © Andrea Sestito © Omar Sartor © Simone Bossi © Simone Bossi © Simone Bossi © Omar Sartor © Omar Sartor © Omar Sartor © Andrea Sestito © Omar Sartor Design Intent: Reversibility and Temporal Tension The recent architectural project by Giovanni Mecozzi Architetti centers on the noble floor of the palazzo, reinterpreted as a contemporary residence named Gironda. Rather than imposing a new visual regime onto the historic shell, the intervention operates with restraint, foregrounding the building’s original character while establishing new spatial and material conditions. At the core of the project lies a design philosophy rooted in reversibility. Mecozzi’s intervention resists permanence. The furnishings and spatial devices introduced into the historic rooms are self-supporting and detached from the structure. No new element makes physical contact with the floors, ceilings, or walls, preserving the integrity of the original surfaces. This strategy avoids irreversible alterations and allows the architecture to remain temporally flexible. Architect Giovanni Mecozzi articulates this approach succinctly: “The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension.” This spatial tension is not decorative but conceptual, prompting occupants to consider the relationship between historical continuity and contemporary transformation. The design does not attempt to erase time but rather exposes its layers through careful juxtaposition. The project draws conceptual and chromatic inspiration from Ravenna’s early Christian and Byzantine mosaics. Rather than replicate ornamental motifs, Mecozzi extracts abstract qualities such as color, luminosity, and surface texture, integrating them as subtle spatial references throughout the residence. Gironda Residence Material Strategy Access to the residence is organized through a longitudinal hallway that bisects the plan, connecting a balcony on the north façade with a loggia overlooking the garden to the south. This corridor becomes a spine for circulation and orientation, punctuated by entries into five main rooms: the kitchen, veranda, and three independent suites. Each suite functions as a self-contained spatial environment. The original large rooms have been reimagined with integrated volumes housing diverse domestic functions: bathrooms, saunas, walk-in closets, reading nooks, and home cinemas. These new programmatic layers are embedded within freestanding furniture structures, which operate more as inhabitable objects than architectural partitions. Color becomes an operative tool for spatial differentiation. The three principal suites, the Gold Room, the Blue Room, and the Green Room, are introduced chromatically through thresholds that face the main corridor. This prelude of color sets the tone for each room’s unique interior experience. Within, glossy glass tiles, gilded surfaces, and a reduced palette of materials establish a scenographic yet restrained environment. The flooring, a Venetian terrazzo installed during earlier restoration work in the 2000s, has been retained. Its beveled borders and rounded corners respond to the proportions of each room, reinforcing a visual continuity that binds the new interventions with the inherited context. In contrast to the historical envelope, the furniture and spatial devices employ a language of monochromatic forms and minimal detailing, occasionally verging on neoplastic abstraction. This tension between old ornament and new abstraction is one of the project’s defining features. Furnishings curated by Atelier Biagetti, known for their theatrical and ironic sensibility, further enrich the atmosphere. These pieces do not mimic the historical setting but create moments of visual friction and playful ambiguity, enhancing the multi-temporal character of the interiors. Architectural Significance and Cultural Dialogue The Gironda residence exemplifies a growing discourse in contemporary architecture around adaptive reuse that neither mimics nor erases the past. Rather than treating heritage as a constraint or an aesthetic to be curated, Mecozzi engages it as an active agent in spatial transformation. The project is a case study in reversible architecture, where temporality is embedded in the design, not just its historical references. This intervention prompts broader questions about the role of preservation in contemporary practice. Can architectural interventions occupy historic contexts without becoming parasitic or nostalgic? Mecozzi’s project suggests that they can adopt a posture of critical distance and conceptual clarity. Gironda does not attempt to restore Casa Guaccimanni to a previous state or impose a singular vision of modernity. Instead, it crafts a dialogue between past and present, structured through spatial strategies, material choices, and chromatic cues. In doing so, it opens a new chapter in the building’s ongoing life, one that is fully contemporary yet deeply rooted in architectural memory. Gironda Residence in Casa Guaccimanni Plans Floor Plan | © Giovanni Mecozzi Architetti Golden Room Layout | © Giovanni Mecozzi Architetti Door Detail | © Giovanni Mecozzi Architetti Gironda Residence in Casa Guaccimanni Image Gallery About Giovanni Mecozzi Giovanni Mecozzi is an Italian architect based in Ravenna, Italy, and the founder of Giovanni Mecozzi Architetti, a multidisciplinary studio specializing in architecture, interior design, and landscape projects. After graduating from the University of Ferrara with an architecture degree, Mecozzi gained international experience working in Spain, including collaborating with Mendaro Arquitectos in Madrid. Upon returning to Italy, he co-founded GMA, focusing on projects emphasizing the relationship between architecture, the client, and the context, with a particular interest in renovating and transforming historical buildings.  Credits and Additional Notes Design Team: Giovanni Mecozzi, Cecilia Verdini, Filippo Minghetti Construction: EdilcostruzioniElectrical Systems: Elektra ServiceMechanical and Hydraulic Systems: Nuova OLP Structural Alterations: Not applicableCustom Furniture: Idea LegnoCurtains and Fabrics: Selezione Arredamenti, Ravenna Lighting: ViabizzunoResin Coatings and Flooring: Kerakoll Rugs and Carpeting: Centro Moquette, Rimini Bathroom Furnishings: Salaroli, Ravenna Furniture, Artwork, and Design Objects Selected by: Atelier BiagettiFurniture Designers: Alberto Biagetti and Laura Baldassarri #gironda #residence #giovanni #mecozzi #renovation

Last week, we asked you to highlight expressive faces from the games you love using #PSshare #PSBlog. Here are this week’s highlights: ​​ MrioMoreno5 shares Ellie’s face lighting up in The Last of Us Part II. Couch_Gamer2k23 shares Maelle looking apprehensive in Clair Obscur: Expedition 33 EmperorHal shares Deacon grimacing while holding a weapon in Days Gone Remastered xirantics shares Cait Sith with a cheeky grin in Final Fantasy VII Rebirth. ​​ player1pov shares Raven looking fierce in Stellar Blade RhodWulfLeon shares Aloy looking wistful in the grass of Horizon Forbidden West Search #PSshare #PSBlog on Twitter or Instagram to see more entries to this week’s theme. Want to be featured in the next Share of the Week? THEME: MonochromaticSUBMIT BY: 11:59 PM PT on June 4, 2025  Next week, we’re all about color. Share monochromatic moments from the game of your choice highlighting one color using #PSshare #PSBlog for a chance to be featured. #share #week #expressive

Villa Air / ARK-architectureSave this picture!© Bilel KhemakhemHouses•Tunis, Tunisia Architects: ARK-architecture Area Area of this architecture project Area:  1500 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Bilel Khemakhem Manufacturers Brands with products used in this architecture project Manufacturers:  Trespa, Elements, QUICK-STEP, REVIGLASS, Saint Gobain Glass, Schüco, TOSHIBAMore SpecsLess Specs this picture! Text description provided by the architects. Villa Air is a distilled expression of contemporary architecture rooted in the Tunisian landscape. Set within a two-hectare plot in Morneg, this 1,500 m² residence unfolds as a meditative dialogue between built form and topography. The site, defined by its gentle slope and sweeping views, culminates in the striking silhouette of the Jbal Errsas mountain range—a natural horizon that anchors the architectural narrative. From the outset, the project embraces a central duality: the tension between gravitas and lightness, between groundedness and suspension. This dialectic, subtly embedded in the villa's name, structures the entire composition. Distributed across three levels, the house is articulated as a series of horizontal strata punctuated by bold cantilevers. These projections—remarkably slender at just 45 cm thick—embody both structural daring and environmental responsiveness, casting precise shadow lines that temper the Mediterranean sun.this picture!this picture!this picture!Rather than asserting dominance over the terrain, the architecture yields to it. The villa engages the land with measured restraint, allowing the natural contours to guide its form. A textured finish in earthy tones fosters chromatic continuity with the ground, while the massing cascades along the slope, suggesting a geological emergence rather than an architectural imposition. The principal façade distills the project's ethos: a calibrated composition of apertures that frames the landscape as a sequence of living tableaux. Each elevation is attuned to its orientation, choreographing a spatial experience that is both immersive and contemplative. Here, architecture acts not as a boundary, but as a lens.this picture!Materiality is approached with deliberate restraint. Pristine white volumes capture the shifting Mediterranean light, animating surfaces in a daily choreography of shadows. Travertine and timber introduce tactile warmth, while concrete elements — subtly tinted with sand pigments — ground the building in its context and enhance its material belonging. Internally, the spatial organization privileges continuity and flow. Circulations are not mere connectors, but choreographed transitions. Double-height volumes channel daylight deep into the core, while vertical pathways become elevated promenades offering ever-evolving perspectives of the surrounding landscape.this picture!this picture!this picture!The architecture explores a central paradox: the reconciliation of intimacy with openness, of enclosure with exposure. This tension is resolved through a refined gradation of thresholds, where interiors dissolve into terraces and open platforms, softening the boundaries between inside and out. Twin infinity pools extend the architectural geometry toward the horizon, amplifying the sensation of lightness and spatial suspension. Water and sky converge in a silent dialogue, completing the project's aspiration to exist not merely in the landscape but in symbiosis with it. Villa Air stands as a testament to a site-specific Mediterranean modernism — one that privileges clarity, precision, and sensory depth. More than a functional residence, it evokes a poetic condition of dwelling: a place where form, matter, and perception converge in quiet resonance.this picture! Project gallerySee allShow less About this officeARK-architectureOffice••• MaterialConcreteMaterials and TagsPublished on May 30, 2025Cite: "Villa Air / ARK-architecture" 30 May 2025. ArchDaily. Accessed . < ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream #villa #air #arkarchitecture

10 Luxurious Jewel Tone Color Palettes In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.As a designer who’s always searching for color combinations that exude sophistication and richness, I find myself constantly returning to jewel tones. These deep, saturated hues possess an inherent elegance that can instantly elevate any design project. Named after precious gemstones, jewel tones bring a sense of luxury and depth that’s simply unmatched by other color families. Whether you’re working on a high-end brand identity, designing an opulent interior space, or creating packaging that needs to convey premium quality, jewel tone palettes offer the perfect solution. I’ve curated ten stunning jewel tone color combinations that will add instant glamour and sophistication to your work. 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just /mo? Learn more »10 Rich Jewel Tone Color Palettes 1. Scarlet Sapphire #1e3a5f #0f4c3a #2d8659 #dc143c #2d1b47 This extraordinary palette brilliantly captures the unexpected marriage of warm passion and cool sophistication. The deep navy and forest tones create a sophisticated foundation that speaks of tradition and reliability, while the vibrant scarlet red adds an electrifying pop that commands attention. I love how the deep purple grounds the entire combination, preventing it from feeling too stark. This palette is perfect for brands that want to convey both trustworthiness and innovation – think luxury tech companies or premium financial services that need to stand out in conservative industries. The warm pop against the elegant backdrop creates visual tension that’s absolutely magnetic. 2. Emerald Shadow #0d3b2e #1a5f4a #2d8659 #4a7c59 #6b5b73 Pure luxury distilled into color form – this palette embodies everything I love about sophisticated emerald combinations. The progression from deep forest shadow through multiple shades of emerald creates incredible depth and richness, while the purple undertones add an unexpected twist that elevates the entire palette beyond typical green combinations. I find this particularly effective for high-end wellness brands, luxury hotels, or premium skincare lines where you want to convey both natural authenticity and refined elegance. The subtle variations in green create a sense of movement and life that feels both organic and carefully curated.Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere. 3. Sapphire Sunset #1a1b5e #003366 #008080 #ff6b47 #2f3e46 The magic of this palette lies in how it balances cool sophistication with warm energy. The deep sapphire blues create a foundation of trust and stability, while the vibrant coral accent brings warmth and approachability. The teal bridge between cool and warm creates a smooth transition that makes the entire combination feel harmonious rather than jarring. I often recommend this palette for luxury travel brands, premium outdoor gear, or innovative tech companies that want to feel both reliable and exciting. It’s sophisticated enough for corporate applications yet warm enough for consumer-facing brands. 4. Azure Majesty #003366 #004d7a #008080 #2e8b57 #1e4d72 Classic luxury redefined – this palette speaks the language of traditional elegance with a contemporary voice. The progression through various blues and blue-greens creates a sense of depth and movement that reminds me of looking into clear ocean waters. Each shade builds upon the last, creating a sophisticated gradient that feels both timeless and fresh. I love using this combination for established luxury brands that want to maintain their heritage while appealing to modern consumers. It works beautifully for high-end jewelry, premium spirits, or luxury automotive brands where tradition and innovation need to coexist seamlessly. 5. Copper Flame #722f37 #003366 #008b8b #cd853f #483d8b This palette brings together richness and warmth in the most compelling way. The deep burgundy and navy create a sophisticated backdrop, while the copper accent adds warmth and luxury that prevents the palette from feeling too cold or corporate. The purple undertones add depth and mystery that makes the entire combination feel more complex and interesting. I find this particularly effective for premium spirits, luxury dining establishments, or high-end home goods where you want to create an atmosphere of warmth and sophistication. The copper element adds an artisanal quality that speaks to craftsmanship and attention to detail. 6. Vintage Velvet #4b0f3b #6b1f5e #8b4d7a #5d4e75 #2f3e46 Pure luxury in its most refined form – this palette captures the opulent feel of vintage velvet fabrics and antique jewelry. The progression through various purples and plums creates incredible richness and depth, while the darker tones add mystery and sophistication. There’s something almost tactile about this color combination that makes you want to reach out and touch it. I love using this palette for high-end fashion brands, luxury beauty products, or premium interior design where you want to convey both heritage and contemporary luxury. The monochromatic approach creates unity while the varied tones prevent monotony. 7. Ruby Fire #2d1b47 #0f3b2e #1e6b52 #e74c3c #4a2c5e Bold and dramatic, this palette commands attention while maintaining sophistication. The deep purple and forest tones create a rich foundation, while the ruby red accent brings passion and energy that’s impossible to ignore. I love how the darker tones ground the vibrant red, preventing it from feeling too aggressive or overwhelming. This combination works beautifully for luxury fashion brands, premium automotive, or high-end cosmetics where you want to convey both sophistication and passion. The dramatic contrast creates visual impact that’s perfect for brands that need to stand out in crowded markets. 8. Royal Midnight #1a1b5e #2e2d7d #4a4d8a #6b4e79 #8b3a62 This palette captures the sophisticated fun of evening elegance with a contemporary twist. The progression through various purples and blues creates a sense of movement and depth that feels both playful and refined. There’s something about this combination that reminds me of twilight in a royal garden – mysterious, beautiful, and slightly magical. I find this palette particularly effective for luxury entertainment brands, premium lifestyle products, or innovative beauty companies that want to feel both sophisticated and approachable. The subtle variations create visual interest without overwhelming the senses. 9. Sunset Jewels #4b0f3b #074e67 #2e8b57 #d4542a #1e4d72 This palette achieves the perfect balance between warm energy and cool sophistication. The deep purple and navy create a rich foundation, while the emerald green adds freshness and the coral accent brings warmth and vibrancy. I love how each color complements the others while maintaining its own distinct personality. This combination works beautifully for brands that want to feel both innovative and trustworthy – think premium outdoor gear, luxury travel companies, or high-end wellness brands. The warm pop prevents the palette from feeling too serious while the sophisticated base keeps it professional. 10. Emerald Garden #0f4c3a #1e6b52 #2d8b67 #4d7c5e #6b5d73 Fresh luxury with a natural sophistication – this palette captures the beauty of an emerald garden in the golden hour. The progression through various greens creates incredible depth and richness, while the purple undertones add complexity and prevent the palette from feeling too simple. There’s something both grounding and uplifting about this combination that makes it perfect for brands focused on wellness, sustainability, or natural luxury. I often recommend this palette for premium organic brands, luxury spa treatments, or high-end gardening products where you want to convey both natural authenticity and refined quality. Why Jewel Tones Are Perfect for Modern Design The enduring appeal of jewel tones lies in their ability to convey luxury without appearing ostentatious. Unlike bright neons or muted pastels, jewel tones possess a natural richness that feels both timeless and contemporary. These colors have depth and complexity that photographs beautifully and translates well across different media. As someone who’s worked with countless color palettes over the years, I’ve noticed that jewel tones have a unique ability to make any design feel more premium. They suggest quality, craftsmanship, and attention to detail – qualities that resonate strongly with today’s consumers who value authenticity and excellence. The psychological impact of these colors is also significant. Deep blues convey trust and stability, rich purples suggest creativity and luxury, emerald greens evoke growth and prosperity, while ruby reds communicate passion and energy. When used thoughtfully, jewel tones can help communicate your brand values without saying a word. Mastering Jewel Tones in Contemporary Design Working with jewel tones requires a different approach than using brighter or more muted colors. Here’s what I’ve learned from years of incorporating these rich hues into modern design projects: Create Stunning Contrast Jewel tones look absolutely spectacular when paired with crisp whites or deep blacks. This contrast prevents the richness from becoming overwhelming while allowing the colors to truly shine. I often use white space generously when working with these palettes to give each color room to breathe. Mix Textures and Finishes These colors lend themselves beautifully to different textures and finishes. Consider how emerald green might look with a matte finish versus a glossy one, or how sapphire blue appears on silk versus canvas. The interplay between color and texture can dramatically enhance the luxurious feel of your design. Layer Different Jewel Tones Don’t be afraid to combine different jewel tones within a single design. Emerald and sapphire work beautifully together, as do amethyst and garnet. The key is to vary the saturation levels and use one color as the dominant hue while others serve as accents. Consider the Context While jewel tones are inherently luxurious, they can be adapted to different contexts. A tech startup might use jewel tones in a more minimalist way, while a luxury hotel could embrace their full opulence. Understanding your audience and context will guide how boldly you use these colors. The Psychology Behind Our Love for Jewel Tones Understanding why we’re drawn to jewel tones can help us use them more effectively in our designs. These colors tap into several psychological triggers that make them particularly appealing: The connection to precious stones immediately suggests value and rarity. Throughout history, these gemstone colors have been associated with wealth, power, and status. When we see these hues, we unconsciously associate them with quality and luxury. There’s also something deeply satisfying about the richness and depth of jewel tones. Unlike flat, single-note colors, jewel tones have complexity – they seem to contain multiple hues within themselves, creating visual interest that holds our attention. From a cultural perspective, many jewel tones have positive associations across different societies. Deep blues are almost universally associated with trust and stability, while rich greens connect us to nature and growth. These universal positive associations make jewel tones safe choices for international brands. Jewel Tones Across Different Design Disciplines The versatility of jewel tone palettes makes them suitable for virtually any design application, though each field has its own considerations: Luxury Branding For high-end brands, jewel tones are almost a requirement. They instantly communicate quality and exclusivity. I’ve found that using jewel tones in logo design, particularly when combined with elegant typography and plenty of white space, creates an immediate impression of sophistication. The key is restraint – let the richness of the colors speak for themselves rather than overwhelming the design with too many elements. Interior Design Magic In interior spaces, jewel tones can create incredibly dramatic and luxurious environments. An accent wall in deep emerald or sapphire can transform an entire room, while jewel-toned accessories add richness without commitment. I love seeing how these colors interact with different lighting throughout the day, revealing new depths and nuances. Digital Design Excellence For web and app design, jewel tones can create memorable user experiences. Using these colors for call-to-action buttons or important interface elements draws attention while maintaining sophistication. However, accessibility is crucial – ensure sufficient contrast ratios when using darker jewel tones for text or interface elements. Fashion and Product Design The fashion industry has long embraced jewel tones for their ability to flatter virtually every skin tone while conveying luxury. In product design, these colors can transform everyday objects into premium items. Think about how a deep sapphire blue phone case feels more expensive than a bright plastic one. Seasonal Considerations for Jewel Tones While jewel tones are timeless, they do have seasonal nuances that smart designers can leverage. The deeper, richer tones like garnet and emerald feel naturally autumnal and can create cozy, intimate atmospheres perfect for fall and winter projects. Lighter jewel tones, particularly those with blue and green undertones, can work beautifully for spring and summer projects when paired with crisp whites and metallics. The key is adjusting the saturation and supporting colors to match the seasonal mood you’re trying to create. The Future of Jewel Tone Design As we move forward in 2025, I see jewel tones becoming even more important in design. In an increasingly digital world, these rich, tactile colors help create emotional connections that transcend screens. They remind us of the physical world of precious stones and natural beauty. The sustainability movement has also increased appreciation for colors that feel timeless rather than trendy. Jewel tones don’t go out of style the way seasonal color trends do, making them smart long-term choices for brands and spaces. Bringing Jewel Tone Magic to Your Projects Working with jewel tone palettes has taught me that luxury isn’t about using the most expensive materials or the most complex designs. Sometimes, it’s simply about choosing colors that inherently communicate quality and sophistication. Whether you’re designing a tech startup’s brand identity or planning a luxury hotel’s interior, jewel tones offer a shortcut to elegance that few other color families can match. The key is understanding the unique properties of each hue and using them with intention and restraint. Remember that these colors have centuries of cultural associations behind them. When you choose emerald green, you’re not just picking a color – you’re tapping into associations with growth, prosperity, and natural beauty. When you select sapphire blue, you’re communicating trust, stability, and depth. The most successful jewel tone designs are those that respect the inherent power of these colors while adapting them to contemporary contexts. Don’t be afraid to experiment, but always keep in mind the sophisticated legacy these hues carry. So embrace the richness, dive into the depth, and let jewel tones transform your next design project. In a world full of fleeting trends, these timeless colors offer something rare: instant, enduring elegance that never goes out of style. Zoe Santoro Zoe is an art student and graphic designer with a passion for creativity and adventure. Whether she’s sketching in a cozy café or capturing inspiration from vibrant cityscapes, she finds beauty in every corner of the world. With a love for bold colors, clean design, and storytelling through visuals, Zoe blends her artistic skills with her wanderlust to create stunning, travel-inspired designs. Follow her journey as she explores new places, discovers fresh inspiration, and shares her creative process along the way. These 1920s Color Palettes are ‘Greater than Gatsby’There’s something undeniably captivating about the color schemes of the Roaring Twenties. As a designer with a passion for historical...7 Best 50s Color Palettes that are “The Cat’s Pajamas”When I look for inspiration that balances nostalgia with timeless appeal, I always find myself drawn to the refined elegance...What Colors Make Blue?Blue is more than just a color—it’s an experience. When we encounter blue, we’re drawn to its tranquil beauty, finding... #luxurious #jewel #tone #color #palettes

Slayven Never read a comic in his life Moderator Oct 25, 2017 102,377 First things i turn off, even before i start playing. They are distracting at best, and a waste of GPU/CPU cycles at worst.   Kyrios Member Oct 27, 2017 19,085 Film grain is one of the first things I look for in the Options to turn off, if available lol   Bonefish Member Oct 28, 2017 5,099 all dogshit. also that dumb lens effect they did in star wars outlaws and MHworld. At least Outlaws patched a way to turn that off.   ann3nova. Member Oct 27, 2017 2,546 I'm cool with motion blur.   Shoichi Member Jan 10, 2018 12,489 I turn all those off the moment I have access to visual options in any game I play   RoKKeR Member Oct 25, 2017 17,115 Motion blur when done right = 100% yes. The others= no.   Grenlento Member Dec 6, 2023 1,822 They aren't that taxing on resources nowadays right? But yeah, I also turn all that stuff off if I can. I'm also a monster & turn off AA if I can lol  Lylo Member Oct 25, 2017 3,582 No, no and no. Edit: also, the biggest of "no's" for chromatic aberration.  Vincent Grayson Member Oct 27, 2017 7,382 Mount Airy, MD Motion blur seems like the odd one out here, IMO. Film grain just adds absolutely nothing. Bloom might be good in theory but it sure seems like we've improved on what "bloom" was doing at this point. But motion blur makes total sense to me.   MR2 Member Apr 14, 2022 1,367 I'm not bothered enough to turn them off.   xir Member Oct 27, 2017 15,383 Los Angeles, CA Yes No Yes  texhnolyze Shinra Employee Member Oct 25, 2017 26,488 Indonesia No to motion blur and film grain, I always turn them off. Bloom, in the other hand, depends on the implementation and its intensity. Modern bloom is much better than what we saw in PS360 era.  OP OP Slayven Never read a comic in his life Moderator Oct 25, 2017 102,377 RoKKeR said: Motion blur when done right = 100% yes. The others= no. Click to expand... Click to shrink... i knew i was missing one   Duxxy3 Member Oct 27, 2017 24,801 USA I generally turn off motion blur as a start. Film grain and bloom I typically leave alone, unless it really looks wrong   Hasney One Winged Slayer The Fallen Oct 25, 2017 23,266 Immediately turning them all off when I can, as well as Chromatic Abberation   Wrexis Member Nov 4, 2017 29,482 The last time I left film grain on in a game was Mass Effect 2007.   Outtrigger888 Member Oct 27, 2017 2,664 I shut off chromatic aberration and film grain. I'm cool with motion blur though.   platypotamus Member Oct 25, 2017 10,052 I just have my PC autodetect if I'm on there, and if I'm on a console I dont even look at visual settings unless I need some colorblind fix and didnt find it elsewhere. Tbh I dunno what bloom even is.   RedSwirl Member Oct 25, 2017 10,729 I don't even mind chromatic aberration unless it's really egregious. And I actually prefer leaving motion blur on, especially if it's per-object motion blur.   Sadnarav Member Nov 6, 2019 994 I usually turn them off when I have the option, specially after I bought Final Fantasy Type-0 HD on launch and it had such intense motion blur that moving the camera gave me headaches, so I've never played it past the very start   Rizific Member Oct 27, 2017 6,322 All turned off before starting the game. Really not a fan of purposely shitting up my image quality.   Reinhard Member Oct 27, 2017 7,200 Never with chromatic aberration and film grain. Motion blur is good when per object motion blur, but I don't like motion blur in general.   Roubjon Member Oct 25, 2017 3,089 I like all of it, yeah.   LossAversion The Merchant of ERA Member Oct 28, 2017 11,696 Motion blur can really help at 30fps if it's implemented well but even at 40fps it becomes way less appealing. At 60fps or higher it hurts more than it helps. Film grain... I don't know, I usually just turn it off because it's either not noticeable at all or too noticeable. I have a soft spot for bloom. It can be really effective at adding a bit of whimsy like with the original Oblivion. Chromatic aberration is usually not my cup of tea but there are some games where it worked for me. Sue me, I liked it in Bloodborne. I cannot fucking stand vignettes and it actually killed my desire to play The Witcher 3 because the PS4 version got patched at some point to make the vignetting super dark and distracting with no way to turn it off.  MinerArcaniner Uncle Works at Nintendo Member Oct 29, 2017 7,451 Motion blur is case-by-case. Bloom and film grain can fuck off into the sun.  blazinglazers Prophet of Truth Member Oct 27, 2017 304 Los Angeles As a console player, yeah I fucking love it. Well done motion blur helps the "feel" of 30fps dramatically. Subtle film grain and lens effects can add up to an immersive "cinematic" aesthetic. Of course, all of these things can be abused... but that goes for everything.  Rippa Member Feb 15, 2018 1,343 I'm all for artist vision. If it's on then I don't mind it. If it's off, I won't turn it on.  Uhyve Member Oct 25, 2017 1,290 I stream alot of games from my gaming PC to my bedroom media-ish PC, so I usually disable film grain because I assume it'd hurt compression. Not sure if that's a real thing though, wonder if they do the same by default on streaming services. Otherwise, assuming they aren't horrible implementations, I don't mind any of those effects.  nolifebr Member Sep 1, 2018 12,633 Curitiba/BR No problem with any of those.   SoftTaur Member Oct 25, 2017 688 A very small amount of motion blur can be fine. Everything else is distracting at best.   selfnoise Member Oct 25, 2017 1,555 I don't think I have ever actually seen film grain in a game, I can't tell the difference on or off. Motion blur CAN be good, but it seems like it's always implemented in a stupid way. Bloom feels like kind of a last-gen thing? I guess Veilguard had it. It's fine.  UraMallas Member Nov 1, 2017 24,478 United States Roubjon said: I like all of it, yeah. Click to expand... Click to shrink... At the very least I don't mind it.   hydruxo ▲ Legend ▲ Member Oct 25, 2017 22,739 Motion blur is alright sometimes, but I turn off bloom and film grain immediately   RPGsandFGCs Member Jun 30, 2024 1,095 California I sometimes leave bloom on, but motion blur is off 100% of the time and film grain is off 95% of the time. I don't fuck with motion blur.  Bear Member Oct 25, 2017 12,314 They're all going off instantly.   Spaggy Member Oct 26, 2017 778 I kinda like film grain, but I'll turn it down to 50% or so if possible. It depends on the game and the look they're going for, but usually I'll turn down those visual settings rather than completely off. Same with camera bob/sway - I'll turn that down to 20% if I can.   secretanchitman One Winged Slayer Member Oct 25, 2017 9,901 Chicago, IL Hate all of those annoying post-processing effects and I turnthem off instantly. Give me a clean and native image every time!  J75 Member Sep 29, 2018 7,880 Digital Foundry does lol   Lant_War Classic Anus Game The Fallen Jul 14, 2018 25,288 I like motion blur if well implemented. If you're playing at 60fps or under it helps a fair bit to smooth out the image. CA and film grain depends on the implementation and what the game is going for. Generally I leave them on though unless it's absurdly intrusive  Boopers Member Nov 1, 2020 4,354 Vermont usa I think it's neat!   AppleMIX Prophet of Truth Member Oct 27, 2017 1,851 Nope, auto turn off. Same with chromatic aberration.   contextura Member May 27, 2023 15 Depends on the look the game is going for I guess. Like something like the last of us 2 just looks kind of plain without that added post-processing to give it that filmic look it's going for. But if I'm playing something more inherently gamey then I'll turn them off if they're too obtrusive.   RaySpencer Member Oct 27, 2017 5,795 I love them all of they are used well for artistic style. What I hate is all the dithering I see from upscaling in all these games.  TeenageFBI One Winged Slayer Member Oct 25, 2017 11,332 RoKKeR said: Motion blur when done right = 100% yes. The others= no. Click to expand... Click to shrink... Chromatic aberration can absolutely be done right, but very few devs show that kind of restraint. It's a good effect to use when taking damage in certain games. Or it could show up when simulating a shitty security camera readout. Or maybe it could only appear as you approach a dangerous/lethal area. I always liked the effect in Teleglitch: View:   pioneer Member May 31, 2022 7,297 I love film grain when it's done well. Blue and bloom I don't feel strongly about, but generally some is nice but often I find them overdone.   IceBear Member Nov 20, 2017 1,297 I tend to keep bloom and film grain on as I assumed those are part of the artists' intended vision on how a game should look like. As for motion blur, it depends. It stays on for console 30fps and off if I can hit 60fps on PC.   Eidan AVALANCHE Avenger Oct 30, 2017 9,860 I have no problem with any of them.   inkblot Member Mar 27, 2024 1,091 ✅ Motion Blur ❌ Film Grain  srtrestre One Winged Slayer Member Oct 25, 2017 19,503 I turn all these off. Also throw in chromatic aberration somewhere in there   Dest Has seen more 10s than EA ever will Coward Jun 4, 2018 16,048 Work motion blur is the first thing i turn off in a game, if i can. the other stuff.... depends on the implementation. can be good.   #honest #does #anyone #really #like