To much surprise, the Galaxy Watch 8 is likely to come in a “squircle” design rather than a circle, as most other Galaxy Watches have before it. So, how are we feeling about this new change? more…

These car-inspired garments are certainly original.

From lifelike avatars to automated fan interactions, AI is remaking digital modeling. But can tech ... More scale intimacy — or will it erode the human spark behind the screen?getty The AI boom has been defined by unprecedented innovation across nearly every sector. From improving flight punctuality through AI-powered scheduling to detecting early markers of Alzheimer’s disease, AI is modifying how we live and work. And the advertising world isn’t left out. In March of this year, OpenAI’s GPT-4o sent the internet into a frenzy with its ability to generate Studio Ghibli-style images. The model produces realistic, emotionally nuanced visuals from a series of prompts — a feat that has led some to predict the demise of visual arts as we know them. While such conclusions may be premature, there’s growing belief among industry players that AI could transform how digital model agencies operate. That belief isn’t limited to one startup. A new class of AI-powered agencies — including FanPro, Lalaland.ai, Deep Agency andThe Diigitals — is testing whether modeling can be automated without losing its creative edge. Some use AI to generate lifelike avatars. Others offer virtual photo studios, CRM — customer relationship management — integrations, or creator monetization tools. Together, they reflect a big shift in how digital modeling agencies think about labor, revenue and scale. FanPro — founded by Tyron Humphris in 2023 to help digital model agencies scale efficiently — offers a striking case study. Fully self-funded, Humphris said in an interview that the company reached $1 million in revenue within its first 90 days and crossed eight figures by 2024, all while maintaining a lean team by automating nearly every process. As Humphris noted, “the companies that will lead this next decade won’t just be the ones with the best marketing or biggest budgets. They’ll be the ones who use AI, automation and systems thinking to scale with precision, all while staying lean and agile.” That explains the big bet that startups like FanPro are making — but how far can it really go? And why should digital model agencies care in the first place? Automation In Digital Model Agencies To understand how automation works in the digital modeling industry — a fast-rising corner of the creator economy — it helps to understand what it’s replacing. A typical digital model agency juggles five or more monetization platforms per creator — from OnlyFans and Fansly to TikTok and Instagram. But behind every viral post is a grind of scheduling, analytics, upselling, customer support and retention. The average agency may need 10 to 15 contractors to manage a roster of just a few high-performing creators. These agencies oversee a complex cycle: content creation, onboarding, audience engagement and sales funnel optimization, usually across several monetization platforms. According to Humphris, there’s often a misconception that running a digital model agency is just about posting pretty pictures. But in reality, he noted, it’s more. “It’s CRM, data science and psychology all wrapped in one. If AI can streamline even half of that, it’s a game-changer.” That claim reflects a growing pain point in the creator economy, where agencies swim in an ocean of tools in an attempt to monetize attention for creators while simultaneously managing marketing, sales and customer support. For context, a 2024 Clevertouch Consulting study revealed that 54% of marketers use more than 50 tools to manage operations — many stitched together with Zapier or manual workarounds. Tyron Humphris, founder of FanProFanPro But, according to Humphris, “no matter how strong your offer is, if you don’t have systems, processes and accountability built into the business, it’s going to collapse under pressure.” And that’s where AI steps in. Beyond handling routine tasks, large language models and automation stacks now allow agencies to scale operations while staying lean. With minimal human input, agencies can schedule posts, auto-respond to DMs, upsell subscriptions, track social analytics and manage retention flows. What once required a full team of marketers, virtual assistants and sales reps can now be executed by a few well-trained AI agents. FanPro claims that over 90% of its operations — from dynamic pricing to fan interactions — are now handled by automation. Likewise, Deep Agency allows creators to generate professional-grade photo shoots without booking a studio or hiring staff and Lalaland.ai helps fashion brands generate AI avatars to reduce production costs and increase diversity in representation. A Necessary Human Touch Still, not everyone is convinced that AI can capture the nuance of digital intimacy. Some experts have raised concerns that hyper automation in creator-driven industries could flatten human expression into predictable engagement patterns, risking long-term user loyalty. A 2024 ContentGrip study of 1,000 consumers found 80% of respondents would likely switch brands that rely heavily on AI-generated emails, citing a loss of authenticity. Nearly half said such messages made them feel “less connected” to the brand. Humphris doesn’t disagree. “AI can do a lot, but it needs to be paired with someone who understands psychology,” he said. “We didn’t scale because we had the best tech. We scaled because we understood human behavior and built systems that respected it.” Humphris’ sentiment isn’t a mere anecdote but one rooted in research. For example, a recent study by Northeastern University showed that AI influencers often reduce brand trust — especially when users aren’t aware the content is AI-generated. The implication is clear: over-automating the wrong parts of human interaction can backfire. Automation doesn’t — and shouldn’t — mean that human input becomes obsolete. Rather, as many industry experts have noted, it will enhance efficiency but not replace empathy. While AI can process data at speed and generate alluring visuals, it cannot replicate human creativity or emotional intelligence. Neither does AI know the psychology of human behavior like humans do, a trait Humphris credits for their almost-instant success. What’s Working — And What’s Not Lalaland.ai and The Diigitals have earned praise for enhancing inclusivity, enabling brands to feature underrepresented body types, skin tones and styles. Meanwhile, FanPro focuses on building AI “growth engines” for agencies — full-stack systems that combine monetization tools, CRM and content flows. But not all reactions have been positive. In November 2024, fashion brand Mango faced backlash for its use of AI-generated models, which critics called “false advertising” and “a threat to real jobs.” The New York Post covered the fallout in detail, highlighting how ethical lines are still being drawn. As brands look to balance cost savings with authenticity, some have begun labeling AI-generated content more clearly — or embedding human oversight into workflows, rather than removing it. Despite offering an automation stack, FanPro itself wasn’t an immediate adopter of automation in its processes. But, as Humphris noted, embracing AI made all the difference for the company. “If we had adopted AI and automation earlier, we would’ve hit 8 figures much faster and with far less stress,” he noted. Automation In The New Era FanPro is a great example of how AI integration, when done the right way, could be a profitable venture for digital model agencies. Whether or not the company’s model becomes the blueprint for AI-first digital agencies, it’s clear that there’s a big shift in the creator economy, where automation isn’t only viewed as a time-saver, but also as a foundational pillar for businesses. As digital model agencies lean further into an AI-centric future, the bigger task is remembering what not to automate — the spark of human connection that built the industry in the first place. “In this new era of automation,” Humphris said, “the smartest agencies won’t just ask what AI can do. They’ll ask what it shouldn’t.”

By CHRIS McGOWAN This image of Jupiter from NASA’s James Webb Space Telescope’s NIRCam (Near-Infrared Camera) shows stunning details of the majestic planet in infrared light. (Image courtesy of NASA, ESA and CSA) Special effects have been used for decades to depict space exploration, from visits to planets and moons to zero gravity and spaceships – one need only think of the landmark 2001: A Space Odyssey (1968). Since that era, visual effects have increasingly grown in realism and importance. VFX have been used for entertainment and for scientific purposes, outreach to the public and astronaut training in virtual reality. Compelling images and videos can bring data to life. NASA’s Scientific Visualization Studio (SVS) produces visualizations, animations and images to help scientists tell stories of their research and make science more approachable and engaging. A.J. Christensen is a senior visualization designer for the NASA Scientific Visualization Studio (SVS) at the Goddard Space Flight Center in Greenbelt, Maryland. There, he develops data visualization techniques and designs data-driven imagery for scientific analysis and public outreach using Hollywood visual effects tools, according to NASA. SVS visualizations feature datasets from Earth-and space-based instrumentation, scientific supercomputer models and physical statistical distributions that have been analyzed and processed by computational scientists. Christensen’s specialties include working with 3D volumetric data, using the procedural cinematic software Houdini and science topics in Heliophysics, Geophysics and Astrophysics. He previously worked at the National Center for Supercomputing Applications’ Advanced Visualization Lab where he worked on more than a dozen science documentary full-dome films as well as the IMAX films Hubble 3D and A Beautiful Planet – and he worked at DNEG on the movie Interstellar, which won the 2015 Best Visual Effects Academy Award. This global map of CO2 was created by NASA’s Scientific Visualization Studio using a model called GEOS, short for the Goddard Earth Observing System. GEOS is a high-resolution weather reanalysis model, powered by supercomputers, that is used to represent what was happening in the atmosphere. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) “The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video.” —A.J. Christensen, Senior Visualization Designer, NASA Scientific Visualization Studio (SVS) About his work at NASA SVS, Christensen comments, “The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video. This past year we were part of NASA’s total eclipse outreach efforts, we participated in all the major earth science and astronomy conferences, we launched a public exhibition at the Smithsonian Museum of Natural History called the Earth Information Center, and we posted hundreds of new visualizations to our publicly accessible website: svs.gsfc.nasa.gov.” This is the ‘beauty shot version’ of Perpetual Ocean 2: Western Boundary Currents. The visualization starts with a rotating globe showing ocean currents. The colors used to color the flow in this version were chosen to provide a pleasing look. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) The Gulf Stream and connected currents. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Venus, our nearby “sister” planet, beckons today as a compelling target for exploration that may connect the objects in our own solar system to those discovered around nearby stars. (Image courtesy of NASA’s Goddard Space Flight Center) WORKING WITH DATA While Christensen is interpreting the data from active spacecraft and making it usable in different forms, such as for science and outreach, he notes, “It’s not just spacecraft that collect data. NASA maintains or monitors instruments on Earth too – on land, in the oceans and in the air. And to be precise, there are robots wandering around Mars that are collecting data, too.” He continues, “Sometimes the data comes to our team as raw telescope imagery, sometimes we get it as a data product that a scientist has already analyzed and extracted meaning from, and sometimes various sensor data is used to drive computational models and we work with the models’ resulting output.” Jupiter’s moon Europa may have life in a vast ocean beneath its icy surface. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) HOUDINI AND OTHER TOOLS “Data visualization means a lot of different things to different people, but many people on our team interpret it as a form of filmmaking,” Christensen says. “We are very inspired by the approach to visual storytelling that Hollywood uses, and we use tools that are standard for Hollywood VFX. Many professionals in our area – the visualization of 3D scientific data – were previously using other animation tools but have discovered that Houdini is the most capable of understanding and manipulating unusual data, so there has been major movement toward Houdini over the past decade.” Satellite imagery from NASA’s Solar Dynamics Observatory (SDO) shows the Sun in ultraviolet light colorized in light brown. Seen in ultraviolet light, the dark patches on the Sun are known as coronal holes and are regions where fast solar wind gushes out into space. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Christensen explains, “We have always worked with scientific software as well – sometimes there’s only one software tool in existence to interpret a particular kind of scientific data. More often than not, scientific software does not have a GUI, so we’ve had to become proficient at learning new coding environments very quickly. IDL and Python are the generic data manipulation environments we use when something is too complicated or oversized for Houdini, but there are lots of alternatives out there. Typically, we use these tools to get the data into a format that Houdini can interpret, and then we use Houdini to do our shading, lighting and camera design, and seamlessly blend different datasets together.” While cruising around Saturn in early October 2004, Cassini captured a series of images that have been composed into this large global natural color view of Saturn and its rings. This grand mosaic consists of 126 images acquired in a tile-like fashion, covering one end of Saturn’s rings to the other and the entire planet in between. (Image courtesy of ASA/JPL/Space Science Institute) The black hole Gargantua and the surrounding accretion disc from the 2014 movie Interstellar. (Image courtesy of DNEG and Paramount Pictures) Another visualization of the black hole Gargantua. (Image courtesy of DNEG and Paramount Pictures) INTERSTELLAR & GARGANTUA Christensen recalls working for DNEG on Interstellar (2014). “When I first started at DNEG, they asked me to work on the giant waves on Miller’s ocean planet [in the film]. About a week in, my manager took me into the hall and said, ‘I was looking at your reel and saw all this astronomy stuff. We’re working on another sequence with an accretion disk around a black hole that I’m wondering if we should put you on.’ And I said, ‘Oh yeah, I’ve done lots of accretion disks.’ So, for the rest of my time on the show, I was working on the black hole team.” He adds, “There are a lot of people in my community that would be hesitant to label any big-budget movie sequence as a scientific visualization. The typical assumption is that for a Hollywood movie, no one cares about accuracy as long as it looks good. Guardians of the Galaxy makes it seem like space is positively littered with nebulae, and Star Wars makes it seem like asteroids travel in herds. But the black hole Gargantua in Interstellar is a good case for being called a visualization. The imagery you see in the movie is the direct result of a collaboration with an expert scientist, Dr. Kip Thorne, working with the DNEG research team using the actual Einstein equations that describe the gravity around a black hole.” Thorne is a Nobel Prize-winning theoretical physicist who taught at Caltech for many years. He has reached wide audiences with his books and presentations on black holes, time travel and wormholes on PBS and BBC shows. Christensen comments, “You can make the argument that some of the complexity around what a black hole actually looks like was discarded for the film, and they admit as much in the research paper that was published after the movie came out. But our team at NASA does that same thing. There is no such thing as an objectively ‘true’ scientific image – you always have to make aesthetic decisions around whether the image tells the science story, and often it makes more sense to omit information to clarify what’s important. Ultimately, Gargantua taught a whole lot of people something new about science, and that’s what a good scientific visualization aims to do.” The SVS produces an annual visualization of the Moon’s phase and libration comprising 8,760 hourly renderings of its precise size, orientation and illumination. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) FURTHER CHALLENGES The sheer size of the data often encountered by Christensen and his peers is a challenge. “I’m currently working with a dataset that is 400GB per timestep. It’s so big that I don’t even want to move it from one file server to another. So, then I have to make decisions about which data attributes to keep and which to discard, whether there’s a region of the data that I can cull or downsample, and I have to experiment with data compression schemes that might require me to entirely re-design the pipeline I’m using for Houdini. Of course, if I get rid of too much information, it becomes very resource-intensive to recompute everything, but if I don’t get rid of enough, then my design process becomes agonizingly slow.” SVS also works closely with its NASA partner groups Conceptual Image Lab (CIL) and Goddard Media Studios (GMS) to publish a diverse array of content. Conceptual Image Lab focuses more on the artistic side of things – producing high-fidelity renders using film animation and visual design techniques, according to NASA. Where the SVS primarily focuses on making data-based visualizations, CIL puts more emphasis on conceptual visualizations – producing animations featuring NASA spacecraft, planetary observations and simulations, according to NASA. Goddard Media Studios, on the other hand, is more focused towards public outreach – producing interviews, TV programs and documentaries. GMS continues to be the main producers behind NASA TV, and as such, much of their content is aimed towards the general public. An impact crater on the moon. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Image of Mars showing a partly shadowed Olympus Mons toward the upper left of the image. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Mars. Hellas Basin can be seen in the lower right portion of the image. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Mars slightly tilted to show the Martian North Pole. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Christensen notes, “One of the more unique challenges in this field is one of bringing people from very different backgrounds to agree on a common outcome. I work on teams with scientists, communicators and technologists, and we all have different communities we’re trying to satisfy. For instance, communicators are generally trying to simplify animations so their learning goal is clear, but scientists will insist that we add text and annotations on top of the video to eliminate ambiguity and avoid misinterpretations. Often, the technologist will have to say we can’t zoom in or look at the data in a certain way because it will show the data boundaries or data resolution limits. Every shot is a negotiation, but in trying to compromise, we often push the boundaries of what has been done before, which is exciting.”

SVG animations take me back to the Hanna-Barbera cartoons I watched as a kid. Shows like Wacky Races, The Perils of Penelope Pitstop, and, of course, Yogi Bear. They inspired me to lovingly recreate some classic Toon Titles using CSS, SVG, and SMIL animations. But getting animations to load quickly and work smoothly needs more than nostalgia. It takes clean design, lean code, and a process that makes complex SVGs easier to animate. Here’s how I do it. Start Clean And Design With Optimisation In Mind Keeping things simple is key to making SVGs that are optimised and ready to animate. Tools like Adobe Illustrator convert bitmap images to vectors, but the output often contains too many extraneous groups, layers, and masks. Instead, I start cleaning in Sketch, work from a reference image, and use the Pen tool to create paths. Tip: Affinity Designer (UK) and Sketch (Netherlands) are alternatives to Adobe Illustrator and Figma. Both are independent and based in Europe. Sketch has been my default design app since Adobe killed Fireworks. Beginning With Outlines For these Toon Titles illustrations, I first use the Pen tool to draw black outlines with as few anchor points as possible. The more points a shape has, the bigger a file becomes, so simplifying paths and reducing the number of points makes an SVG much smaller, often with no discernible visual difference. Bearing in mind that parts of this Yogi illustration will ultimately be animated, I keep outlines for this Bewitched Bear’s body, head, collar, and tie separate so that I can move them independently. The head might nod, the tie could flap, and, like in those classic cartoons, Yogi’s collar will hide the joins between them. Drawing Simple Background Shapes With the outlines in place, I use the Pen tool again to draw new shapes, which fill the areas with colour. These colours sit behind the outlines, so they don’t need to match them exactly. The fewer anchor points, the smaller the file size. Sadly, neither Affinity Designer nor Sketch has tools that can simplify paths, but if you have it, using Adobe Illustrator can shave a few extra kilobytes off these background shapes. Optimising The Code It’s not just metadata that makes SVG bulkier. The way you export from your design app also affects file size. Exporting just those simple background shapes from Adobe Illustrator includes unnecessary groups, masks, and bloated path data by default. Sketch’s code is barely any better, and there’s plenty of room for improvement, even in its SVGO Compressor code. I rely on Jake Archibald’s SVGOMG, which uses SVGO v3 and consistently delivers the best optimised SVGs. Layering SVG Elements My process for preparing SVGs for animation goes well beyond drawing vectors and optimising paths — it also includes how I structure the code itself. When every visual element is crammed into a single SVG file, even optimised code can be a nightmare to navigate. Locating a specific path or group often feels like searching for a needle in a haystack. That’s why I develop my SVGs in layers, exporting and optimising one set of elements at a time — always in the order they’ll appear in the final file. This lets me build the master SVG gradually by pasting it in each cleaned-up section. For example, I start with backgrounds like this gradient and title graphic. Instead of facing a wall of SVG code, I can now easily identify the background gradient’s path and its associated linearGradient, and see the group containing the title graphic. I take this opportunity to add a comment to the code, which will make editing and adding animations to it easier in the future: <svg ...> <defs> <!-- ... --> </defs> <path fill="url(#grad)" d="…"/> <!-- TITLE GRAPHIC --> <g> <path … /> <!-- ... --> </g> </svg> Next, I add the blurred trail from Yogi’s airborne broom. This includes defining a Gaussian Blur filter and placing its path between the background and title layers: <svg ...> <defs> <linearGradient id="grad" …>…</linearGradient> <filter id="trail" …>…</filter> </defs> <!-- GRADIENT --> <!-- TRAIL --> <path filter="url(#trail)" …/> <!-- TITLE GRAPHIC --> </svg> Then come the magical stars, added in the same sequential fashion: <svg ...> <!-- GRADIENT --> <!-- TRAIL --> <!-- STARS --> <!-- TITLE GRAPHIC --> </svg> To keep everything organised and animation-ready, I create an empty group that will hold all the parts of Yogi: <g id="yogi">...</g> Then I build Yogi from the ground up — starting with background props, like his broom: <g id="broom">...</g> Followed by grouped elements for his body, head, collar, and tie: <g id="yogi"> <g id="broom">…</g> <g id="body">…</g> <g id="head">…</g> <g id="collar">…</g> <g id="tie">…</g> </g> Since I export each layer from the same-sized artboard, I don’t need to worry about alignment or positioning issues later on — they’ll all slot into place automatically. I keep my code clean, readable, and ordered logically by layering elements this way. It also makes animating smoother, as each component is easier to identify. Reusing Elements With <use> When duplicate shapes get reused repeatedly, SVG files can get bulky fast. My recreation of the “Bewitched Bear” title card contains 80 stars in three sizes. Combining all those shapes into one optimised path would bring the file size down to 3KB. But I want to animate individual stars, which would almost double that to 5KB: <g id="stars"> <path class="star-small" fill="#eae3da" d="..."/> <path class="star-medium" fill="#eae3da" d="..."/> <path class="star-large" fill="#eae3da" d="..."/> <!-- ... --> </g> Moving the stars’ fill attribute values to their parent group reduces the overall weight a little: <g id="stars" fill="#eae3da"> <path class="star-small" d="…"/> <path class="star-medium" d="…"/> <path class="star-large" d="…"/> <!-- ... --> </g> But a more efficient and manageable option is to define each star size as a reusable template: <defs> <path id="star-large" fill="#eae3da" fill-rule="evenodd" d="…"/> <path id="star-medium" fill="#eae3da" fill-rule="evenodd" d="…"/> <path id="star-small" fill="#eae3da" fill-rule="evenodd" d="…"/> </defs> With this setup, changing a star’s design only means updating its template once, and every instance updates automatically. Then, I reference each one using <use> and position them with x and y attributes: <g id="stars"> <!-- Large stars --> <use href="#star-large" x="1575" y="495"/> <!-- ... --> <!-- Medium stars --> <use href="#star-medium" x="1453" y="696"/> <!-- ... --> <!-- Small stars --> <use href="#star-small" x="1287" y="741"/> <!-- ... --> </g> This approach makes the SVG easier to manage, lighter to load, and faster to iterate on, especially when working with dozens of repeating elements. Best of all, it keeps the markup clean without compromising on flexibility or performance. Adding Animations The stars trailing behind Yogi’s stolen broom bring so much personality to the animation. I wanted them to sparkle in a seemingly random pattern against the dark blue background, so I started by defining a keyframe animation that cycles through different opacity levels: @keyframes sparkle { 0%, 100% { opacity: .1; } 50% { opacity: 1; } } Next, I applied this looping animation to every use element inside my stars group: #stars use { animation: sparkle 10s ease-in-out infinite; } The secret to creating a convincing twinkle lies in variation. I staggered animation delays and durations across the stars using nth-child selectors, starting with the quickest and most frequent sparkle effects: /* Fast, frequent */ #stars use:nth-child(n + 1):nth-child(-n + 10) { animation-delay: .1s; animation-duration: 2s; } From there, I layered in additional timings to mix things up. Some stars sparkle slowly and dramatically, others more randomly, with a variety of rhythms and pauses: /* Medium */ #stars use:nth-child(n + 11):nth-child(-n + 20) { ... } /* Slow, dramatic */ #stars use:nth-child(n + 21):nth-child(-n + 30) { ... } /* Random */ #stars use:nth-child(3n + 2) { ... } /* Alternating */ #stars use:nth-child(4n + 1) { ... } /* Scattered */ #stars use:nth-child(n + 31) { ... } By thoughtfully structuring the SVG and reusing elements, I can build complex-looking animations without bloated code, making even a simple effect like changing opacity sparkle. Then, for added realism, I make Yogi’s head wobble: @keyframes headWobble { 0% { transform: rotate(-0.8deg) translateY(-0.5px); } 100% { transform: rotate(0.9deg) translateY(0.3px); } } #head { animation: headWobble 0.8s cubic-bezier(0.5, 0.15, 0.5, 0.85) infinite alternate; } His tie waves: @keyframes tieWave { 0%, 100% { transform: rotateZ(-4deg) rotateY(15deg) scaleX(0.96); } 33% { transform: rotateZ(5deg) rotateY(-10deg) scaleX(1.05); } 66% { transform: rotateZ(-2deg) rotateY(5deg) scaleX(0.98); } } #tie { transform-style: preserve-3d; animation: tieWave 10s cubic-bezier(0.68, -0.55, 0.27, 1.55) infinite; } His broom swings: @keyframes broomSwing { 0%, 20% { transform: rotate(-5deg); } 30% { transform: rotate(-4deg); } 50%, 70% { transform: rotate(5deg); } 80% { transform: rotate(4deg); } 100% { transform: rotate(-5deg); } } #broom { animation: broomSwing 4s cubic-bezier(0.5, 0.05, 0.5, 0.95) infinite; } And, finally, Yogi himself gently rotates as he flies on his magical broom: @keyframes yogiWobble { 0% { transform: rotate(-2.8deg) translateY(-0.8px) scale(0.998); } 30% { transform: rotate(1.5deg) translateY(0.3px); } 100% { transform: rotate(3.2deg) translateY(1.2px) scale(1.002); } } #yogi { animation: yogiWobble 3.5s cubic-bezier(.37, .14, .3, .86) infinite alternate; } All these subtle movements bring Yogi to life. By developing structured SVGs, I can create animations that feel full of character without writing a single line of JavaScript. Try this yourself: See the Pen Bewitched Bear CSS/SVG animation [forked] by Andy Clarke. Conclusion Whether you’re recreating a classic title card or animating icons for an interface, the principles are the same: Start clean, Optimise early, and Structure everything with animation in mind. SVGs offer incredible creative freedom, but only if kept lean and manageable. When you plan your process like a production cell — layer by layer, element by element — you’ll spend less time untangling code and more time bringing your work to life.

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Today, like most days, I made a trip to the post office to ship out my Poshmark sales. But what I'm shipping out looks a little different than it might have a few months ago. Of the seven packages I'm handing off, only one contains an item I'd consider "nice." Alongside that Fendi top are six pieces from fast-fashion brands—ultra cheap stuff I ordered from Chinese retailers like Shein and Temu that, until recently, I never expected to actually sell, given that someone could buy the same item new at, well, Shein and Temu prices. But since the United States' new tariff structure went into effect (primarily the elimination of the de minimus exemption), consumers have been forced to adjust to a reality in which they can't easily source everything from toothbrush holders to micro-trendy outfits from an low price Chinese retail giant, to say nothing of concerns over how much more they could be paying for pricier items like autos and appliances made with foreign parts or manufactured overseas. In this period of uncertainty, resale apps may be filling the void. My own Poshmark sales are up compared to the month before the tariffs went into effect, with a notable rise in sales of basic, cheap stuff. Curious, I talked to a few experts to see if my experiences were indicative of a broader trend—one that could mean good things (well, relatively speaking) for resale buyers and sellers alike.The vibe on the resale apps in the wake of tariffsThe rollout of the tariffs has been confusing and disjointed. It was (and still is) hard to predict when consumers will see price increases on foreign-made electronics, cars, and other goods, or on products assembled in the U.S. but made with imported parts. But from the start, it has been obvious that goods from China in particular were about to cost a whole lot more—including the volumes of stuff shipped directly to consumers from the likes of Temu and Shein, the latter of which is famous for uploading 10,000 new styles to its site every day (and for charging unbelievably low prices for all of them). Months ago, when the tariffs were first announced, people started wondering if they should start stocking up (and on what), whether they were importing cheap clothes from Shein or bracing for higher prices on more substantial goods like smartphones. I've bought more than my share of junk from Shein, though I know it is not exactly a sustainable or environmentally friendly choice. To make myself feel better about that, I've always listed the clothes on resale apps once I'm done with them. To be clear, these are cheaply made garments—you don't buy your capsule wardrobe on Shein; Shein is where you shop for micro-trends (styles that are currently all over your Instagram and Pinterest feed, but which won't be in two months) or basics like tank tops that you can use and abuse. Prior to the tariffs rolling out, it was inconceivable that anyone would pay me $9 (plus shipping) for a pre-worn, cheaply-made dress or workout set that I had only paid $15 for in the first place—but that's what started happening. In the past month, I've still sold clothing and accessories made by Adidas, Gucci, Skims, Ralph Lauren, Marc Jacobs, Reebok, and Givenchy, but those tend to be one-off sales. My Shein resales for the last four weeks absolutely dwarf them. I also sold a few electronics items—an Apple Watch and facial micro-current device—I had listed in my Poshmark shop months earlier. Could I chalk up all of these sales to tariffs, and to anxiety about impending price increases on electronics? My Shein sales this month vs. everything else Credit: Lindsey Ellefson Certainly I'm not alone in noticing it this trend. A Poshmark spokesperson tells me, "We’ve seen an increase in sales of internationally-made items, especially from brands that have announced price hikes due to high tariffs. Despite rising prices, demand for fast fashion remains strong as consumers seek trendy, affordable styles. Buying those pieces secondhand lets them stay on-trend while keeping clothing in circulation."In addition to Shein and Temu, higher-priced brands that publicly announced tariff-related price increases have also seen resale spikes, with sales of Columbia button-down shirts surging by 61% month over month, and sales of Hermès sandals up 27%. Buying used Hermès sandals is one thing—not all of us have $840 laying around to spend on designer slides to ring in the summer. But a Columbia button-down? That's the kind of item I'm used to finding at Marshall's for maybe $30—but people now seem to be flocking to buy them used, worried that even cheap shirts will become relatively priceier due to tariffs. Meanwhile, Poshmark reports sales on consumer electronics have increased as well: The week of April 27, resales of Sony products were up 22% month over month, and Apple products were up 21%. The times seem to be changing, and they're doing it in a hurry.What tariffs means for resale shoppersI am not only a resale seller, but a resale shopper, and the uncertainty around tariffs has made me a lot more discerning with what I'm buying new. Part of this is just that I'm now paying more attention. I love the leisure and athletic wear made by SET Active. I own a lot of it, and I have never before considered selling any of it because it lasts so long and maintains its shape so well. Until recently, I have also never paid much attention to where it is made: While SET Active designs its products in California, its active fabrics are all made in China. Prices haven't gone up on the official website yet, but in preparation for a time when they might, I've already started shopping the brand on Poshmark and Depop. It's not the worst thing in the world; buying used is both cheaper and more sustainable. I've always been an avid purchaser of resale goods—I've just never had to do it so strategically before. (I've found it easier to give up Shein altogether—I can manage fine without the $4 tank tops I've been putting through absolute hell the past few summers—but my Poshmark customers have proven more reluctant to resist the allure of fast fashion, even used.)I'm not alone in being more strategic with my resale purchases. Financial experts are noticing the same thing. "In the wake of the announcement and implementation of the tariffs, people have been looking for cheaper alternatives to the more expensive imported goods," says Aaron Razon, a personal finance expert at Couponsnake, "especially as many domestic products not only fall short in meeting the demand for certain products, but lack the variety and style that imported goods offer. [Domestic products] are also not exactly the cost-effective option consumers are looking for, and this is one of the major reasons interest in resale platforms [has] been on the increase."Bill London, an international business attorney, points out that in addition to causing prices to rise, tariffs have resulted in potential shipping delays, a fact that has also contributed to, "a surge in second-hand fast fashion interest." Six months ago, if you needed a certain kind of dress for, say, a themed bachelorette party, you could order it from Shein for $20, safe in the knowledge that you'd probably never wear it again. Today, its price could be closer to $30 or $40, and you might face delays in receiving it. The appeal of fast fashion was always in the low cost and convenience, provided you had 10 to 14 days to wait for the thing to arrive from China. Now, it just makes more sense to buy that dress from someone in the U.S. who likewise didn't see themselves rewearing it, —and now, they're selling it for roughly the same $20 they originally paid. For the buyer, it's still a relative deal, and it'll even arrive sooner. It's not just fast fashionBrands beyond Shein and Temu are seeing a lift. As the Poshmark rep pointed out, resales on select high-end brands are up, too. Buying used luxury goods has always been a smart financial decision (certainly it's a practice I've been dedicated to for a long time), but with manufacturing and importation costs an ever-murkier question, it's more sensible than ever. A spokesperson for Vestiaire Collective, a designer resale platform, tells me that U.S. buyers are increasingly able to see the duties applied to their purchases from Europe and Asia at checkout, and that the company has been working to beef up its American foothold for years. That effort is now paying off in a big way thanks to tariffs: In 2022, VC acquired Tradesey to increase its selection of pre-owned fashion offering for U.S. buyers, and it ramped up associated brand marketing the following year. VC also curates a list of goods that are ready to ship from New York City, making it easier for American buyers to identify items that can easily come to them domestically, no tariffs or duties required. Consequently, the brand rep says VC has, "seen a shift of more U.S. buyers buying from U.S. sellers" lately. Personally, I've noticed people buying from me lately, in particular, is workout attire. With the cost of everything going up, it might seem more of a stretch to pop into Lululemon to buy a new pair of leggings for over $100. Meanwhile, the trusty Shein alternative is now more money than its worth. It's this class of in-between necessities—things you don't need to survive, but may be a nice-to-have for your particular interests or lifestyle—that is a source of personal economic woe, and where resale can fill the gap. Whether you need new workout gear, a one-time wear outfit, a few basic pieces, or even a designer handbag, the reality of the post-tariff world is that you're almost certainly better off looking on resale apps before even considering buying new. (You certainly have options—I've assembled a rundown of my own favorite resale apps, including the goods you're most likely to find on each.)What this trend means for resellersI remain shocked that people who presumably would have once ordered their workout sets and summer shorts off Shein are filling the fast-fashion void by purchasing mine, but take it from me: If you have ever considered selling your old clothes or housewares, but figured what you have to offer is too basic, cheap, or plentiful to make the effort worth it, this is your moment. I used to have cheap goods and fast fashion listed on my resale accounts only because it helped keep my number of available listings up, which contributed to my profiles' reputation and lured in buyers for the pricier objects I actually expected to sell. Now, though, it's the cheap stuff that is really moving, and making me money. I've started reevaluating my closet and reconsidering what meets my threshold for "worth it" to list. Post-tariffs, everything is worth it to list. As London puts it, "The tariffs have altered the way in which people do their shopping." It's still pretty early into the great American tariff experiment, but some brands commissioned surveys early on this year to see how people were planning to deal with cost increases and found that a major chunk of consumers indeed expected to rely more on resale. ThredUp, another online resale platform, found that 59% of consumers reported that if apparel got more expensive, they'd look to more affordable options, like secondhand buying, and consumers planned to spend 34% of their apparel budget on secondhand items this year. And those figures are a lot higher for Millennials and Gen Z buyers: They reported planning to spend almost half their clothing budget on resale. Data from Smartly, an online shopping rewards app, also shows that 50% of survey respondents planned to consider resale goods in the face of rising costs. This means that even for casual resellers or those new to the concept entirely, there are a lot of new prospective buyers, which can translate directly to quick sales. At a time when the cost of necessary goods is rising right alongside those in-between necessities, you can make extra cash by selling what you already have. In general, my sales are way up month over month since tariffs went into effect in early May Credit: Lindsey Ellefson Will the resale spike last?I've been buying and selling on resale apps for years and have always had success finding cool stuff to buy as fast as I could get rid of my old clothing, accessories, and electronics. While I've definitely noticed a spike in my sales lately, that's not to say there wasn't demand before the tariffs were announced. If you're new to buying or selling on an app, don't worry that the bubble will burst and you'll have invested a bunch of time in listing your wares for nothing—even if and when the moment passes, reselling can still be a reliable way to make a little extra cash. (In the meantime, if you have a lot to sell and want to maximize your profits, download a cross-lister like Vendoo, which helps you easily list the same product across multiple marketplaces.)Some experts do expect that things could cool down in the nearer term. "Whether the trend persists depends on a number of things, such as how long the tariffs are in effect and how buyers respond to costs," London says. "The resale market for the products is likely to continue expanding if the tariffs are maintained. The demand might plateau or divert towards quality goods or eco-friendly goods when buyers adapt." Razon, meanwhile, thinks resale apps will continue to thrive, but that the interest in procuring cheaply-made things, like fast fashion, may wane. "Resale platforms have been on the good end of the recent tariff increases, especially with consumers looking for cheaper alternatives to imported goods," he says. "The truth is—though it may take consumers time to realize it—they will eventually come to appreciate better-quality goods. There is a great chance that consumers' interest in these lesser-quality goods will wear off as soon as they begin to adjust to the new economic reality."That is to say, list your Shein, Temu, and Aliexpress stuff now while people are still mourning its loss, but also consider those more familiar brands that may also soon see price hikes. Take stock of your closet and do a bit of research to see where all your potential stock is made. Just like I'm worried my beloved SET Active attire is going to go up in price because it's made in China, consumers may soon find themselves wanting to source cheaper stuff from Nike, Adidas, Lululemon, Levi's, and more, as all of those companies manufacture a lot of their clothing overseas. The resale platforms themselves are already anticipating that their digital products are going to get more valuable and stay valuable through (and beyond) the tariff era. Manish Chandra, Poshmark's founder and CEO, says, "As the landscape of tariffs and imports evolves, we believe the secondhand marketplace will become an increasingly valuable and cost-effective resource for American consumers. By shopping from Poshmark closets or starting their own, consumers are supporting sustainability and helping strengthen the American economy." In other words, buying resale is another way of buying American, even if everything you're buying was made in India or China.

Q: My question is how best to set up an Xbox for my kid. I want to know how to control use time and whether I should use my email to set up. – Guillermo from Utah A: You're in luck! Console parental controls have come a long way from the days of hiding NES systems (or their controllers) from unruly kids. Microsoft, in particular, has made it very easy through its Xbox Family Settings app for iOS and Android, which supports Xbox Series X/S and Xbox One systems. Once you've added your kids to your Xbox family group, you'll be able to manage and see reports of their playtime, restrict access to specific content, require parental approval for purchases and sort incoming friend requests. In typical Microsoft fashion, though, setting up Xbox family accounts can be a bit confusing, so let's go over it step by step. Microsoft How to set up an Xbox for your child Turn on your Xbox and sign in with your Microsoft account. Press the Xbox button on your controller, and head to Profile & system > Settings > account > Family settings > Manage family members. Choose Add to family > Add new. Unfortunately, Microsoft requires an email address for new accounts. You can either enter your child's existing email if they have one, or choose the Get a new email option to create an Outlook email address. (This may seem a bit absurd for younger children, so if you don't want to create an email for your 6 year old, you may be better off just physically controlling access to consoles like the old days.) Next, you'll have to verify the addition of a new family group member. You can do so by either choosing This Xbox on the next screen and entering your Microsoft account details, or selecting Their phone/PC to have an email sent to you. In either case, you'll have to consent to the new member. What is a Microsoft child account? In its documentation, Microsoft says "a child account is defined as any Microsoft account that’s affiliated with an adult Microsoft account when the age of the child or teen is less than the age of majority for their country or region." These accounts are broken into "Child" and "Teen" categories, which specify age ranges between eight and 12, and 13 to 17. Microsoft notes there can be differences depending on location, like in South Korea where teen accounts range from 13 to 18. Devindra Hardawar for Engadget Are there any issues with Microsoft child accounts? As useful as the Xbox Family app and child accounts may seem, they can also lead to problems while playing Minecraft, according to comments on Reddit. Reddit user "Microdad_" said they weren't able to gift a game to their child's account, they had to deal with a buggy website to allow them to play Minecraft and after all of that trouble their child still can't play in their realm. User "Electronic_Ocelot825" encountered similar issues, replying, "You are spot on. I go through same [sic] crap and it drives me to the point where I am furious.” Have a tech question you’d like Engadget to answer? As tech reporters, the Engadget staff is always answering questions from readers, friends and family about electronics, software, gaming, big tech policies and more. So we decided to write down our answers. This question came from a coworker from Yahoo, Engadget's corporate parent. If you’ve got a tech-related question you’d like us to answer for you, please email ask@engadget.com.This article originally appeared on Engadget at https://www.engadget.com/gaming/xbox/ask-engadget-how-do-i-set-up-an-xbox-for-my-kid-110022860.html?src=rss

Ever dreamt of wandering through the vast collections of a major museum in its rawest presentation — the storage warehouse? London's new V&A East Storehouse destination attempts to offer visitors an akin experience when it officially opens this Saturday, May 31st. Photo: Hufton+Crow, courtesy V&ADesigned by Diller Scofidio + Renfro, the facility is both a working store and public attraction, built to house over 250,000 objects, 350,000 books, and 1,000 archives in a four-story building that spans over 173,000 square feet. Photo: Hufton+Crow, courtesy V&AThe collection includes works from an eclectic range of disciplines and time periods, from ancient Egyptian footwear through medieval art to Mid-Century furniture and contemporary avant-garde fashion items.  Photo: Hufton+Crow, courtesy V&ASix large-scale objects will be on display for the first time after spending decades in the hidden kind of storage, such as Frank Lloyd Wright's unique 1930s Kaufmann Office interior, a full-scale...