Cozy Games Free & Open-Source Godot Add-Ons / News, Resources / May 31, 2025 / Add-On, Godot The folks over at Cozy Cube Games have provided a GitHub repository that offers a fantastic collection of tools to enhance your Godot game development workflow. Here’s a look at 14 of the add-ons you can find there, all of which are available under the MIT open-source license and implemented using 100% GDScript. The repository consists of the following free add-ons for the Godot game engine: area_lights: Enhances lighting capabilities within your scenes. control_proxies: doodle_texture:  Create textures directly in Godot by doodling or sketching, perfect for prototyping and “sticky notes”. editor_relays: This add-on allows you to manage the Godot Editor from your application at run-time. gizmo_presets: Gain precise control over the visibility of Gizmos in Godot. Show/hide them all, or create and toggle your own custom presets. light_shafts: Add breathtaking volumetric light scattering effects, often known as “god rays,” to your scenes. lines_and_trails_3d: Easily create and manage dynamic 3D lines and trail effects for projectiles, movement paths, and more. manual_multimesh: Optimize your scenes by gaining more direct control over MultiMeshInstances, perfect for rendering many similar meshes efficiently. nine_patch_mesh: Create scalable 3D nine-patch meshes, ideal for flexible UI elements or environment pieces with repeating borders and centers. parallel_scene_views: Boost your productivity by viewing and interacting with multiple scene views simultaneously within the editor. preview_2d: Seamlessly integrate 2D and 3D workflows by adding a button to preview your 2D viewport directly from a 3D scene. procedural_texture_baker: Generate and bake unique procedural textures directly within Godot, saving time and adding variety. tile_path_3d: Effortlessly instance 3D objects along a spline path. Perfect for creating paths, roads, fences, and other repeating environmental details. transform_clusters: Once again, not really sure the use case on this one Key Links Cozy Cube Games Godot Add-Ons GitHub Repository Cozy Cube Games Homepage You can learn more about the Cozy Cube Games add-ons for the Godot game engine as well as see many of them in action in the video below.

Strategies to future-proof UX that meets EU legal standardsThe EAA requires digital accessibility to accommodate all users with different needsAccessibility for digital products is no longer optional — it’s a necessity with the upcoming enforcement of the European Accessibility Act (EAA).Until now, European standards such as EN 301 549 have required only the public sector to comply with the Web Content Accessibility Guidelines (WCAG). So only government agencies or businesses that sell information and communication technology (ICT) to government agencies have needed to meet accessibility specifications.As of June 2025, this will be expanded into the private sector in the European Union (EU) — including e-commerce, restaurants, and banking services.Are you thinking any of the following?Does the EAA apply to me or the business I work for?What is the WCAG and what does it require?How much work is needed make my UX designs compliant?I get it — it’s time-consuming to understand the grueling details of a legislative act, but it’s vital to realize how it directly impacts you and your business (whether you’re an employee or employer).What is the European Accessibility Act (EAA)?The EAA is a “directive” that aims to improve accessibility in products and services in EU member states. This ensures people with disabilities can successfully access any digital product — ranging from writing an email on a laptop to checking-in at the doctor’s office with an iPad.The directive was enacted in 2019, but will become enforced on June 28, 2025 for any new products.The EAA is a EU directive that follows EN 301 549 and WCAG 2.1 requirementsEAA requirementsTo comply with the EAA, you need to follow the European “standard,” EN 301 549. EN 301 549 includes many clauses covering accessibility for a broad range of ICT — from native mobile applications to electronic hardware.The clauses circling the web and software incorporate the Web Content Accessibility Guidelines (WCAG) 2.1, Level AA.Who does the EAA apply to?The EAA impacts all 27 member states of the EU. This includes countries such as France, Spain, and Sweden.Not only do EU member states need to comply, but any company that does business with the member states — even if the company isn’t based in the EU. For example, if a person in Italy accesses an e-commerce website based in the United States, the website must comply with the EAA.What does WCAG require?WCAG offers internationally recognized standards for digital accessibility. These standards are developed by the World Wide Web Consortium (W3C) and are constantly evolving to account for changes in HTML and assistive technologies.The EAA and EN 301 549 require conformance to WCAG 2.1, Level AA standards. But what does that mean exactly?WCAG versionsNew versions of WCAG are periodically released to accommodate to the internet’s evolution. As methods and technologies are deprecated and replaced, it’s important to update standards to ensure accessibility is met.The most current version of WCAG is 2.2, which was released in October 2023. Though the EAA and EN 301 549 currently require WCAG 2.1, it’s expected they will be updated to include the WCAG 2.2 version.WCAG has released 3 versions between 2008 and 2023WCAG conformance “levels”WCAG includes 3 levels of conformance: Level A, Level AA, and Level AAA. Level A offers guidelines for the most basic accessibility considerations, while Level AAA reaches the widest degree of accessibility.Each success criteria (SC) in WCAG has a conformance level. For instance, SC 1.1.1 (Non-text content) is Level A, while SC 2.4.12 (Focus not obscured–Enhanced) is Level AAA.To conform to a certain WCAG level, the digital product must also conform to the level below it. So if your website is Level AA, it passes both Level A and AA success criteria (which is what’s required to comply with the EAA).WCAG’s “levels” refer to the degree of accessibility your digital product complies withDesign strategies for EAA complianceWCAG standards are dense, and it takes time to incorporate them into your UX design process. But there are strategies you can start using now to meet most of the requirements to comply with the EAA.1. Color contrast ratioDesigners must create color palettes that support a high color contrast ratio for content like text or UI components. You can check color contrast ratios with tools such as WebAIM’s Contrast Checker.Small text (less than 18px) must have a color contrast ratio of 4.5:1 with its backgroundLarge text (larger than 18px) must have a contrast ratio of 3:1 with its backgroundUI components, like buttons, should have a color contrast ratio of 3:1 with its backgroundColor should not be used alone to convey meaning; semantic color also needs a text label or appropriate iconFor more details, visit WCAG 1.4-Distinguishable.Don’t use color alone to convey meaning, such as errors or warnings on text fields2. Keyboard functionalitySome users can’t use a mouse or their laptop’s trackpad. Users who are blind or have limited hand mobility use their keyboard or other assistive technologies, and must be able to operate the product with their preferred input method.All user actions are doable from a keyboard, except for freehand movements (I.E., digital painting)Keyboard users must not encounter a keyboard trap (I.E., the user can’t navigate away from elements like a modal)Keyboard users have a way to turn off or remap keyboard shortcuts made up of single-character keys (I.E., use “D” to delete an item)For more details, visit WCAG 2.1-Keyboard accessible.Example of keyboard tab/ focus order for a restaurant’s website3. Multimedia featuresAll users, whether they are blind, hard-of-hearing, or have a learning disability, must be able to access the information any multimedia provides (I.E., videos or audio).Provide captions for any pre-recorded audio that is time-based (I.E., syncing audio with text-based captions)Provide an audio description for pre-recorded videos (I.E., an animation without audio showing how to tie your shoes)Provide captions for all live video content (I.E., a news organization’s live broadcast)For more details, visit WCAG 1.2-Time based media.Example of a live news broadcast with closed captioning4. Headings and labelsWhen headings and labels aren’t used properly or aren’t used at all, users have a hard time processing content and completing tasks — from reading an article to filling out a form.Provide clear headings and labels that describe the page content or input fieldEnsure labels and headings that visually convey structure and relationships are programmatically associated to their content (I.E., the page heading includes a <h1> tag)Ensure individual cells in a data tables are programmatically associated to their parent column or row header (I.E., the cell named “Blue” is associated to its parent column named “Colors”)For more details, visit WCAG 1.3-Adaptable.Ensure the heading tags properly convey the web-page’s content structure5. Support screen readersMany people use screen readers, such as NVDA or JAWS, so they can use any website or software. Ensuring digital products are compatible with screen readers seem challenging, but there are ways to proactively support screen readers.Use semantic HTML elements, like <button>, and avoid non-semantic elements, like <div> and <span>, that don’t contain built-in meaningProvide a text alternative for meaningful images using the alt attributeEnsure all interactive elements have a corresponding name, role, and valueEnsure the focus indicator is always visible so the user knows where they are in the interfaceFor more details, visit WCAG 4.1-Compatible.Tools to use for an accessible design processTo help meet WCAG 2.1, Level AA standards, there are tools you can incorporate in your UX process to create accessible designs and hand them over to your development team.1. WAVEWAVE is a free accessibility evaluation tool developed by WebAIM. WAVE offers multiple browser extensions for Chrome, Firefox, and Edge. After adding the extension to your preferred browser, all you have to do is visit your website and activate WAVE to get an automated evaluation.Note: Automated tools only find about a third of accessibility issues, so a manual evaluation is still needed after using WAVE.WAVE is a free accessibility evaluation tool that works on any live websitePros of WAVE:Offers multiple extensions for your preferred browserAllows you to easily see the tab order and structure of a web-pageProvides recommendations on how to correct accessibility issuesCons of WAVE:The icons representing potential accessibility issues are overwhelming and difficult to understand which icon goes to which element2. StarkStark offers a plug-in for both Figma and Sketch that designers can use to thoroughly check and annotate UX designs for developer hand-off. This ensures that developers know the specifics for alt text, tab order, and heading levels.Stark’s plug-in for Figma allows you to annotate designs and check color contrast ratiosPros of Stark:Offers a range of features to check designs for contrast and typography issues, as well as annotate for developer hand-offProvides color suggestions when the color contrast ratio doesn’t meet WCAG, Level AA requirementsProvides a vision simulator to test designs against different types of color blindness (I.E., protanopia)Cons of Stark:It can be difficult to select the correct layer when annotating designsSome advanced features in the plug-in are paid to use3. JAWSJAWS (Job Access with Speech) is one of the most commonly used screen readers. JAWS allows users with limited vision to access and use digital products, and is beneficial to test your digital product with to ensure it’s compatible with screen readers.Note: JAWS’ free version only allows you to use it for 45 minutes before restarting, and is best used on Chrome or Firefox browsers.JAWS screen reader running on a Mac through the Parallels virtual machinePros of JAWS:Ability to highly customize the JAWS settings, such as the voice synthesizerProvides output both through audio and braille devicesFreedom Scientific offers trainings to learn how to use JAWSCons of JAWS:Includes a steep learning curve compared to other screen readersOnly accessible through a Windows operating systemHas a limited free version–must pay to access the full versionConclusionReady or note, the European Accessibility Act (EAA) will be enforced on June 28, 2025. So any company (public or private) that provides ICT or operates digital products that an EU citizen can use is subject to the EAA.Any new product introduced to the market must comply with WCAG 2.1, Level AA to meet the requirements of the EAA and EN 301 549.Web accessibility is no longer optional — it’s essential. Though building inclusive products is the right thing to do, you may be subject to legal action if you avoid it. Is your digital product ready?SourcesWCAG by Level Access, “EN 301 549 Conformance: An Overview”Accessibility Works, “European Accessibility Act Compliance Requirements: The Next GDPR”WCAG by Level Access, “The European Accessibility Act: Technical Aspects of Compliance”European Union, “Types of legislation”W3C Web Accessibility Initiative, “WCAG 2 Overview”W3C, “WCAG 2.1 Guidelines”Ready or not, the EAA is here was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

When Anna Ginsburg opened her talk at OFFF Barcelona with her showreel, it landed like a punch to the heart and gut all at once. Immense, emotional, awesome. That three-word review wasn't just for the reel – it set the tone for a talk that was unflinchingly honest, joyously weird, and brimming with creative intensity. Anna began her career making music videos, which she admitted were a kind of creative scaffolding: "I didn't yet know what I wanted to say about the world, so I used music as a skeleton to hang visuals on." It gave her the freedom to experiment visually and technically with rotoscoping, stop motion and shooting live-action. It was an opportunity to be playful and have fun until she had something pressing to say. Then, Anna began to move into more meaningful territory, blending narrative and aesthetic experimentation. Alongside music videos, she became increasingly drawn to animated documentaries. "It's a powerful and overlooked genre," she explained. "When it's just voice recordings and not video, people are more candid. You're protecting your subject, so they're more honest." Talking genitals and creative liberation: The making of Private Parts A formative moment in Anna's personal and creative life occurred when she saw the artwork 'The Great Wall of Vagina' by Jamie McCartney at the age of 19. It followed an awkward teenage discovery years earlier when, after finally achieving her first orgasm (post-Cruel Intentions viewing), she proudly shared the news with friends and was met with horror. "Boys got high-fived. Girls got shamed." That gap between female pleasure and cultural discomfort became the starting point for Private Parts, her now-famous animated short about masturbation and sexual equality. It began as a personal experiment, sketching vulvas in her studio, imagining what their facial expressions might be. Then, she started interviewing friends about their experiences and animating vulvas to match their voices. When It's Nice That and Channel 4 emailed her looking for submissions for a late-night slot, Anna shared a clip of two vulvas in casual conversation, and they were immediately sold. With a shoestring budget of £2,000 and a five-week deadline, she rallied 11 illustrators to help bring the film to life. "I set up a Dropbox, and talking genitals started flooding in from the four corners of the world while I was sitting in my bedroom at my mum's," she laughed. One standout moment came from an Amsterdam-based designer who created a CGI Rubik's Cube vagina, then took two weeks off work to spray paint 100 versions of it. The result of what started as a passion project is an iconic, hilarious, and touching film that still resonates ten years on. From humour to heartbreak: What Is Beauty The talk shifted gear when Anna began to speak about her younger sister's anorexia. In 2017, during her sister's third hospitalisation, Anna found herself questioning the roots of beauty ideals, particularly in Western culture. Witnessing her sister's pain reframed how she saw her own body. This sparked a deep dive into beauty through the ages, from the Venus of Willendorf, a 28,000-year-old fertility goddess, to the Versace supermodels of the 1990s and the surgically sculpted Kardashians of today. "You realise the pace of the change in beauty ideals," she says. "If you revisit the skeletal female bodies which defined the super skinny era of the 2000s and compare it to the enhanced curves of today, you realise that trying to keep up is not only futile; it's extremely dangerous." She also explored the disturbing trend of dismemberment in advertising – shots taken where the heads are intentionally out of frame – and the impact this has on self-perception. Her response was What Is Beauty, released in 2018 on International Women's Day and her sister's birthday. The short film went viral, amassing over 20 million views. "It was a love letter to her," Anna said. "Because it didn't have English dialogue, it travelled globally. The simplicity made it resonate." And despite its runaway success, it brought her zero income. "Then I made the worst advert for a bank the world has ever seen," she joked. "I made money, but it broke my creative spirit." Enter the Hag: Animation, myth and millennial angst OFFF attendees were also treated to the world-exclusive first look at Hag, Anna's new animated short, three years in the making. It's her most ambitious and most personal project yet. Made with the support of the BFI, awarding National Lottery funding, Has is a 16-minute fantasy set in a surreal version of Peckham. The main character is a childless, single, disillusioned woman with snakes for hair. "I had just broken up with a lockdown boyfriend after struggling with doubts for nearly 2 years,"' she reveals. "The next day, I was at a baby shower surrounded by friends with rings and babies who recoiled at my touch. I was surrounded by flies, and a dog was doing a poo right next to me. I just felt like a hag." Drawing on Greek mythology, Anna reimagines Medusa not as a jealous monster but as a feminist figure of rage, autonomy and misinterpretation. "I didn't know she was a rape victim until I started researching," she told me after the talk. "The story of Athena cursing her out of jealousy is such a tired trope. What if it was solidarity? What if the snakes were power?" In Hag, the character initially fights with her snakes – violently clipping them back in shame and battling with them – but by the end, they align. She embraces her monstrous self. "It's a metaphor for learning to love the parts of yourself you've been told are wrong," Anna said. "That journey is universal." Making the personal political (and funny) Telling a story so autobiographical wasn't easy. "It's exposing," Anna admitted. "My past work dealt with issues in the world. This one is about how I feel in the world." Even her ex-boyfriend plays himself. "Luckily, he's funny and cool about it. Otherwise, it would've been a disaster." She did worry about dramatising the baby shower scene too much. "None of those women were horrible in real life, but for the film, we needed to crank up the emotional tension," she says. "I just wanted to show that societal pressures make women feel monstrous whether they decide to conform or not. This is not a battle between hags and non-hags. These feelings affect us all." Co-writing the script with her dear friend and writer Miranda Latimer really helped. "It felt less exposing as we'd both lived versions of the same thing. Collaboration is liberating and makes me feel safer when being so honest," Anna explains. Sisterhood, generations and the pressure to conform It was very clear from our chat that Anna's younger sisters are a recurring thread throughout her work. "They've helped me understand the world through a Gen Z lens," she said. "Stalking my youngest sister on Instagram was how I noticed the way girls crop their faces or hide behind scribbles. It's dehumanising." That intergenerational awareness fuels many of her ideas. "I definitely wouldn't have made What Is Beauty without Maya. Seeing what she was going through just unlocked something." She's also keenly aware of the gender gap in healthcare. "So many women I know are living with pain, going years without a diagnosis. It's infuriating. If I get asked to work on anything to do with women's health, I'll say yes." Medusa, millennials, and the meaning of self-love One of Hag's most biting commentaries is about millennial self-care culture. "There's a scene in the character's bedroom – it's got a faded Dumbledore poster, self-help books, a flashing 'Namaste' sign. It's a shrine to the broken millennial." She laughs: "Self-love became a commodity. An expensive candle, a jade roller, and an oil burner from Muji. Like, really? That's it?" Her film pokes at the performative of wellness while still holding space for genuine vulnerability. This same self-awareness informs her reflections on generational shifts. "Gen Z is going through the same thing, just with a different flavour. It's all about skincare routines now – 11 steps for a 14-year-old. It's wild." Feminism with fangs (and a sense of humour) Anna's feminism is open, intersectional, and laced with humour. "My mum's a lesbian and a Child Protection lawyer who helped to make rape within marriage illegal in the UK," she shared. "She sometimes jokes that my work is a bit basic. But I'm OK with that – I think there's space for approachable feminism, too." Importantly, she wants to bring everyone into the conversation. "It means so much when men come up to me after talks. I don't want to alienate anyone. These stories are about people, not just women." What's Next? Hag will officially premiere later this year, and it's likely to resonate far and wide. It's raw, mythic, funny and furious – and thoroughly modern. As Anna put it: "I've been experiencing external pressure and internal longing while making this film. So I'm basically becoming a hag while making Hag." As far as metamorphoses go, that's one we'll happily watch unfold.

17 Cutest Kawaii Fonts That are So Adorable Zoe Santoro • May 30, 2025 In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you. Kawaii fonts are exactly what they sound like – typefaces that embody the Japanese concept of “kawaii” (meaning cute). These fonts typically feature rounded letterforms, playful details, and that unmistakable charm that makes you want to squeeze them like a plushie. Whether you’re designing anime merchandise, creating content for social media, or just want to add a dash of cuteness to your projects, kawaii fonts are your secret weapon for instant adorability. 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just $16.95/mo? Learn more »The Most Adorable Kawaii Fonts of 2025 Not all cute fonts are created equal, so I’ve curated a collection of the most genuinely kawaii typefaces that capture that authentic anime aesthetic. Here are my top picks: Bubble Bliss Bloom Bubble Bliss Bloom is a groovy font that exudes a cute and chunky aesthetic. Its playful design incorporates bubble-like elements, making it perfect for anime-inspired or youthful projects that require a fun and energetic typographic approach.Cute Lime Cute Lime is a charming bubble display font that brings a refreshing and lively feel to designs. Its rounded, inflated letterforms create a sweet and approachable look, ideal for projects targeting a younger audience or those aiming for a lighthearted vibe.Clefy Clefy is a delightful bubble font that combines cuteness with a touch of sophistication. Its inflated characters maintain a clean and legible appearance, making it versatile for both playful and moderately formal designs that require a friendly, approachable typeface.BLUM BLUM is a cute and lovely bubble font that blends script and handwritten styles with sans-serif elements. This decorative typeface is perfect for children’s products, as it captures a youthful spirit while maintaining readability and charm.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. Babel Gamee Babel Gamee is a playful and chunky bubble font that stands out with its bold, inflated characters. This decorative typeface is ideal for game designs, children’s products, or any project that requires a fun, chubby letterform with high visual impact.Fluffy Blitz Fluffy Blitz is a dynamic graffiti bubble font that brings street art flair to designs. With its playful and cartoon-like appearance, this font is perfect for urban-themed projects, youth-oriented designs, or any work that needs a bold, energetic typographic statement.Smothy Bubble Font Smothy Bubble Font combines retro charm with a modern bubble aesthetic. Its smooth, rounded forms create a nostalgic yet contemporary feel, making it suitable for vintage-inspired designs or projects that aim to blend old-school cool with current trends.Booba Candy Booba Candy is a bold and playful typeface that evokes the sweetness of confectionery. Its thick, rounded forms and lively character make it an excellent choice for candy packaging, children’s products, or any design that needs to convey a fun, indulgent feel.Dwangku Dwangku is a joyful display font that combines bubble-like qualities with a sans-serif structure. Its upbeat and fun design makes it perfect for headlines, logos, or any project that requires a cheerful and eye-catching typographic element.Baby Glaze Baby Glaze is a decorative font that captures the essence of cartoons and childhood. Its soft, rounded forms and playful design make it ideal for children’s books, nursery decor, or any project targeting a young audience or aiming for a whimsical touch.Wanbots Wanbots is a bubble font that combines pop culture appeal with retro aesthetics. This sans-serif typeface offers a unique blend of futuristic and vintage elements, making it suitable for tech-related designs, retro-futuristic themes, or modern projects with a nostalgic twist.Love You Love You is a funny and cute balloon font that includes both letters and symbols. This decorative sans-serif typeface is perfect for Valentine’s Day designs, love-themed projects, or any work that needs to convey affection with a lighthearted, playful approach.Daily Bubble Font Daily Bubble Font combines retro charm with modern bubble aesthetics. Its rounded, inflated characters offer a fresh take on vintage typography, making it suitable for nostalgic designs, casual branding, or projects that need a friendly, approachable typeface.Bloombang Bloombang is a bubble display font that offers a bold and eye-catching typographic solution. This decorative sans-serif typeface features inflated letterforms that create visual impact, making it ideal for headlines, logos, or any design that needs to make a strong statement.Love Bold Love Bold is a display font that combines cuteness with a strong visual presence. Its bold character and child-like charm make it perfect for children’s products, love-themed designs, or any project that needs to convey affection with a touch of playfulness and strength.Gumiec Urban Gumiec Urban is a graffiti bubble font that brings street art style to typography. Its punk and groovy aesthetic makes it perfect for urban-themed designs, music-related projects, or any work that needs to convey a rebellious, energetic vibe with a touch of street credibility.Bubblegum Bubblegum is a lively bubble font that captures the essence of its namesake. Its rounded, inflated characters suggest movement and fluidity, making it ideal for designs related to confectionery, children’s products, or any project that needs to convey a fun, bouncy aesthetic.What Makes Kawaii Fonts So Irresistibly Cute? The magic of kawaii fonts lies in several key design characteristics that trigger our natural “aww” response: Rounded, Soft Letterforms Just like how baby animals have rounded features that make us want to protect them, kawaii fonts feature soft, curved letterforms instead of sharp edges. These gentle curves create an immediate sense of friendliness and approachability. The rounded shapes mimic the aesthetic of anime character designs, where even tough characters often have softer, more appealing features than their realistic counterparts. Playful Character Details True kawaii fonts often incorporate delightful little details that give each letter personality. You might find hearts dotting the i’s, stars incorporated into letterforms, or tiny faces peeking out from within characters. These whimsical touches transform ordinary text into something that feels alive and full of character – just like the expressive details that make anime characters so memorable. Bouncy, Uneven Baselines Many kawaii fonts feature letters that don’t sit perfectly on the baseline. Instead, they bounce up and down slightly, creating a sense of movement and energy that feels spontaneous and joyful. This imperfection paradoxically makes the fonts more perfect for their intended purpose – conveying that carefree, happy energy that’s central to kawaii culture. Pastel-Friendly Proportions Kawaii fonts are designed to work beautifully with the soft, pastel color palettes that dominate anime and Japanese cute culture. Their proportions and spacing are optimized to look stunning in pinks, lavenders, mint greens, and other dreamy hues. Where Can You Use Kawaii Fonts? The adorable nature of kawaii fonts makes them perfect for specific design contexts where cuteness is not just welcome – it’s essential: Anime and Manga Projects Obviously, kawaii fonts are a natural fit for anything anime-related. Whether you’re designing covers for manga, creating promotional materials for anime conventions, or developing an anime-inspired app, these fonts help establish that authentic Japanese cute aesthetic. Gaming and Streaming Graphics The gaming community, especially fans of Japanese games and kawaii aesthetics, absolutely loves these fonts. They’re perfect for Twitch overlays, YouTube thumbnails, gaming logos, and streaming graphics where you want to convey a fun, approachable vibe. Social Media Content Instagram posts, TikTok graphics, and Pinterest pins often benefit from kawaii fonts, especially when targeting younger audiences or communities interested in anime, K-pop, or Japanese culture. These fonts help content stand out in crowded social feeds. Children’s Products and Brands The inherently friendly and non-threatening nature of kawaii fonts makes them excellent choices for children’s books, toy packaging, educational materials, and youth-oriented brands that want to feel welcoming and fun. Fashion and Lifestyle Brands Brands targeting the “kawaii fashion” market – think Harajuku street style, pastel goth, or fairy kei aesthetics – can use these fonts to immediately signal their alignment with cute culture and Japanese-inspired fashion trends. Pro Tip: When using kawaii fonts for branding, pair them with clean, simple layouts to let the font’s personality shine without overwhelming the design. Where to Avoid Kawaii Fonts While kawaii fonts are undeniably adorable, there are certain contexts where their cuteness works against your design goals: Professional Business Communications Unless you’re specifically in the kawaii/anime industry, using these fonts for business cards, corporate presentations, or formal communications can undermine your professional credibility. Save them for creative projects instead. Serious or Somber Content The cheerful nature of kawaii fonts makes them inappropriate for serious topics, news content, academic papers, or any context where gravity and respect are paramount. High-Information Density Designs While kawaii fonts excel at grabbing attention, they can become difficult to read in large blocks of text. Stick to using them for headlines, short phrases, or decorative elements rather than body text. Formal Design Contexts Museums, government websites, legal documents, and other formal institutions should generally avoid kawaii fonts unless they’re specifically creating content about Japanese culture or targeting younger audiences. How to Choose the Perfect Kawaii Font With so many adorable options available, here’s how to select the kawaii font that’s just right for your project: Consider Your Audience Are you designing for hardcore anime fans who will appreciate subtle references and authentic Japanese typography? Or are you targeting a broader audience that just enjoys cute aesthetics? More authentic kawaii fonts work better for anime enthusiasts, while more generally “cute” fonts appeal to wider audiences. Match the Energy Level Some kawaii fonts are quietly cute, while others are energetically adorable. Match your font choice to the energy level of your content. A gentle, soft kawaii font works for meditation apps or skincare brands, while a bouncy, energetic one suits gaming content or party invitations. Test Readability Always test your chosen kawaii font at the size it will be used. Some highly decorative kawaii fonts lose their charm (and legibility) when scaled down for mobile screens or small print applications. Consider Cultural Sensitivity Since kawaii culture originates from Japan, be mindful of using these fonts in ways that respectfully appreciate rather than appropriate the culture. Understanding the context and meaning behind kawaii aesthetics will help you use these fonts more thoughtfully. Remember: The best kawaii font is one that feels authentic to the kawaii aesthetic while serving your specific design needs. Don’t just pick the “cutest” one – pick the one that works best for your project. Kawaii Font Pairing and Color Tips To get the most out of your kawaii fonts, consider these design best practices: Color Palette Magic Kawaii fonts shine brightest when paired with the right colors. Think soft pastels, dreamy gradients, and colors inspired by Japanese aesthetics. Pink and lavender are classics, but don’t overlook mint green, peach, sky blue, and cream. For contrast, pair your kawaii fonts with pure white or very light backgrounds. This creates that clean, airy feel that’s essential to kawaii design. Smart Font Pairing When combining kawaii fonts with other typefaces, balance is key. Pair a highly decorative kawaii font with a clean, simple sans-serif for body text. This gives you the personality you want while maintaining readability. Never pair two competing kawaii fonts together – let one be the star while supporting fonts stay neutral and clean. Layout Considerations Kawaii fonts work best when they have room to breathe. Give them plenty of white space, use them for shorter text elements, and consider how they’ll look alongside images or illustrations in your kawaii aesthetic. The Psychology Behind Kawaii Typography Understanding why kawaii fonts are so effective can help you use them more strategically in your designs: The “Baby Schema” Effect Kawaii fonts trigger what scientists call the “baby schema” – our evolutionary response to infant-like features. The rounded shapes, soft edges, and playful proportions mimic characteristics that make us want to nurture and protect, creating an immediate positive emotional response. Cultural Comfort For audiences familiar with anime and Japanese culture, kawaii fonts provide cultural comfort and belonging. They signal that you understand and appreciate their interests, creating an instant connection. Stress Relief Through Design In our increasingly stressful world, kawaii aesthetics offer a form of visual stress relief. The gentle, non-threatening nature of kawaii fonts can actually help viewers feel more relaxed and positive. Expert Opinions: Designers on Kawaii Typography Trends I reached out to several typography experts and anime industry professionals to get their insights on kawaii font trends: Yuki Tanaka, Anime Production Designer: “Kawaii fonts have evolved beyond just being ‘cute.’ Today’s best kawaii typefaces understand the balance between authenticity and accessibility. They respect Japanese design principles while being readable for global audiences.” Maria Santos, Digital Brand Designer: “I’ve seen a huge increase in clients requesting kawaii-inspired fonts, even for non-anime brands. There’s something about that gentle, approachable aesthetic that resonates with people seeking comfort and positivity in design.” David Kim, Gaming Industry Designer: “The gaming community has fully embraced kawaii typography. We’re seeing these fonts used not just in obviously cute games, but in UI design for apps and platforms where user comfort and approachability are priorities.” Common Kawaii Font Questions Let’s address some frequently asked questions about kawaii fonts: What makes a font “kawaii” versus just “cute”? True kawaii fonts draw specifically from Japanese aesthetic principles and anime/manga typography traditions. While cute fonts might just be rounded or playful, kawaii fonts embody the specific cultural aesthetic of Japanese cuteness, often incorporating elements like asymmetry, soft imperfection, and emotionally expressive details. Can I use kawaii fonts for commercial projects? It depends on the specific font’s license. Many kawaii fonts are available for commercial use, but always check the licensing terms before using them in paid projects. Some require purchase of a commercial license, while others are free for all uses. Do kawaii fonts work in languages other than English? Most kawaii fonts are designed primarily for English and basic Latin characters. However, some include Japanese characters (hiragana, katakana, and basic kanji) or extended character sets for other languages. Check the font specifications to see what languages are supported. How do I make my own kawaii font? Creating a kawaii font requires understanding both typography basics and kawaii aesthetic principles. Start by studying authentic Japanese kawaii design, practice drawing rounded, expressive letterforms, and consider using font creation software like FontForge or Glyphs. Remember that cultural sensitivity is important when creating fonts inspired by Japanese aesthetics. The Future of Kawaii Typography As we look ahead to the rest of 2025 and beyond, kawaii fonts are evolving in exciting directions: Variable Font Technology New kawaii fonts are beginning to incorporate variable font technology, allowing designers to adjust cuteness levels, roundness, and playfulness on a sliding scale. This gives unprecedented control over the kawaii aesthetic. Cultural Fusion Styles We’re seeing kawaii fonts that blend Japanese cuteness with other cultural aesthetics – Korean-inspired kawaii fonts, Western cartoon influences, and even minimalist Scandinavian approaches to cute typography. Accessibility Improvements Newer kawaii fonts are being designed with better accessibility in mind, ensuring they remain cute while meeting readability standards for users with visual impairments or reading difficulties. Conclusion: Embracing the Kawaii Font Revolution Kawaii fonts represent more than just a design trend – they’re a bridge between cultures, a source of visual comfort, and a powerful tool for creating emotional connections with audiences. In a world that often feels harsh and overwhelming, these adorable typefaces offer a gentle reminder that design can be both beautiful and kind. Whether you’re a hardcore anime fan looking to create authentic Japanese-inspired designs, a brand seeking to connect with younger audiences, or simply someone who believes the world needs more cuteness, kawaii fonts have something special to offer. The key to using kawaii fonts successfully lies in understanding their cultural context, respecting their origins, and applying them thoughtfully to create designs that truly embody the spirit of kawaii – making the world a little brighter, a little softer, and a lot more adorable. So go ahead, embrace your cute side, and let these kawaii fonts add some much-needed sweetness to your next design project. After all, in a world that could always use more kindness, what could be more perfect than typography that makes people smile? Final Tip: Remember that the best kawaii font is one that feels authentic to both the aesthetic and your project’s needs. Choose with your heart, but design with your head, and you’ll create something truly magical. 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. 10 Warm Color Palettes That’ll Brighten Your DayThere’s nothing quite like the embracing quality of warm colors to make a design feel inviting and alive. As someone...How to Upscale Photos Without Blurriness or PixelationMaking a small picture larger without it turning blurry or blocky is called ‘image upscaling’. Suppose you make a small...The Influence of Font Size and Weight on Cognitive LoadAs designers, we obsess over kerning, color palettes and grids, but how often do we stop to consider how our...

With just days to go before WWDC, the consensus is that Apple will unveil a big, visionOS-inspired redesign across its operating systems. And while some might be dreading a repeat of the iOS 7 announcement from a decade ago, it’s been long enough that many readers might not remember (or may have never even seen) what that overhaul actually looked like. So here’s a quick refresher on what happened, and why this year will likely (I mean, hopefully?) be different. The years between 2011 and 2013 were pretty busy at Apple. Following Steve Jobs’ passing, Apple fired Scott Forstall (then SVP of iOS Software) over the botched release of Apple Maps. That left a gap in software design leadership, which was filled by Jony Ive, who also led hardware design. Soon after, rumors began swirling that he was planning a major visual overhaul of the entire system. Flat In the run-up to WWDC 2013, the Wall Street Journal reported that Ive had been working on “a more ‘flat design’ that is starker and simpler,” a sharp departure from the great skeuomorphic visuals of the time (think linen textures, paper-like folders, glass effects, and yes, Corinthian leather). Some time after that, 9to5Mac exclusively shared mockups of the redesign, which had been leaked to Mark Gurman. It was chaos. I vividly remember thinking it was reckless to publish such unfairly primitive sketches of what would certainly be a more polished overhaul. After weeks of intense debate and fierce expectations that the rumors had been wrong, Apple introduced iOS 7: In the years that followed, Apple scaled back its over-flattening of the system, evolving toward what we have today. Now, that’s about to change once again. Why iOS 26 probably won’t be like iOS 7 Currently, most reports tend to agree that the redesign will be deeply influenced by the visual language of visionOS, with its translucent layers, depth effects, and soft glassy textures. And even if you’re like me and you’ve never worn an Apple Vision Pro, chances are you’ve seen what visionOS looks like. Apple has already laid the groundwork, so the change won’t be such a jarring surprise, like with iOS 7. And from a design perspective, speaking as someone who’s worked in graphic design for over two decades, the best move Apple could make is exactly what’s been reported: updating all systems at once. If you’ve ever had to adapt interfaces and key visuals to multiple concepts, such as wide, narrow, square, rectangular, big, small, etc., you know that with every new aspect ratio, you become a little more familiar and more comfortable with each individual element. By starting out with the virtually boundless, unconstrained environment of visionOS, then increasingly moving to smaller interfaces across macOS, iPadOS, iOS, and watchOS, every decision informs past and future visual adaptations. In other words, a redesign this broad can be iterative in both directions. Will it be beautiful? That’s subjective. Even iOS 7 had a handful of defenders. But one thing is certain: Apple’s design team knows how much this moment matters. This is the biggest task they’ve been given since Ive left the company, and they are well aware of the contentious history of iOS design updates. The mere fact that the new design hasn’t leaked yet points to the absence of dissidents inside the team, and considering how close we are to the announcement, that’s already a victory in itself. Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel

Submitted by WA Contents Three circular volumes create Villa Noon in Sotogrande designed by Fran Silvestre Arquitectos Spain Architecture News - May 30, 2025 - 12:29   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Valencia-based architecture practice Fran Silvestre Arquitectos has revealed design for a house composed of three circular volumes in Sotogrande, Spain.Named Villa Noon, the house is thoughtfully incorporated into a topographically defined setting, utilizing the slope of the ground to open each volume onto a distinct horizon. In order to achieve visual harmony with the natural environment without leaving an unwelcome footprint on the landscape, the house's layout, which is divided into five circular sections, was designed to seamlessly blend with the surroundings.Every one of these pieces has a rear patio that offers protection from the strongest winds and a front terrace that shields from the sun. In addition to optimizing orientation, this circular geometry reduces the volumetric impact, enabling the building to interact with the landscape in a controlled and deliberate manner. The outside materiality gradually integrates into its surroundings because it was constructed from indigenous Sierra Elvira stone, which has white veins and grey tones. This organic texture will eventually blend in as though it were a natural feature of the relief of the ground.A spacious, open vestibule that serves as a threshold between the outside and the inside of the villa is the entryway. It is surrounded by a curved wall. Visitors are introduced to a series of chambers that adjust to the various terrain levels in this transitional area. While the day area unfolds on a lower platform, open to the landscape and directly connected to the outdoors, the night area is located on a higher level, apart from the other functions.The well-being areas, like the gym, are located on the same floor and provide both practical and visual connections to the separate visitor area. Each zone's privacy is protected by this tiered arrangement, which also keeps the composition's overall spatial continuity flexible. By combining geothermal and aerothermal technologies, the house produces an excess of electricity and becomes energy self-sufficient. A mechanism for atmospheric water condensation is also included, which draws moisture from the air for household usage.Techniques including choosing native plant species based on their water requirements, utilizing natural mulch to prevent evaporation, and installing a drip irrigation system that only turns on when required are used to cut down on water usage in the garden. While infiltration trenches, also known as swales, filter and direct rainfall, green roofs enhance insulation and collect rainfall. This system is completed by permeable surfaces and cisterns, which enable the collected water to be stored and used again.By taking these steps, the house also becomes self-sufficient in water, which is a very reasonable objective in this region of Spain, which is the wettest in the nation due to the Sierra de Grazalema."We have always been fascinated by how the Namib Desert beetle collects water: in an extremely arid environment, this insect tilts its body into the wind to condense fog on its shell, whose surface combines areas that attract water and others that repel it, allowing the droplets to slide directly into its mouth," said Fran Silvestre Arquitectos."A natural lesson in efficiency that inspires and reinforces the logic of this system," the firm added.The idea is reminiscent of architectural works like Kazuyo Sejima's Villa in the Forest and Arne Jacobsen's Leo Henriksen House, whose circular shapes and attention to the environment served as inspiration. In contrast to radiocentric solutions, this proposal chooses what we refer to as "the squaring of the circle": service areas are included into irregularly shaped zones, while residential spaces are resolved through an orthogonal floor plan. In the end, we anticipate that this architecture will blend in with its surroundings over time, appearing to be a component of a karstic relief.SketchRoof level planFirst floor planGround floor planBasement floor planSectionRecently, Fran Silvestre Arquitectos unveiled design for a winery with curvacious form adressing winemaking process in Zayas de Báscones, Soria, Spain. In addition, the firm completed a house featuring irregularly shifted volumes on an irregularly shaped plot within Altos de Valderrama, in Sotogrande, Spain.Project factsProject name: Villa NoonArchitects: Fran Silvestre ArquitectosLocation: Sotogrande, Spain.Developer: Cork Oak MansionAll renderings & drawings courtesy of Fran Silvestre Arquitectos.> via Fran Silvestre Arquitectos

Sometimes, you've to set aside everything you've been taught in order to truly tap into your creativity. It's a brave move but one that has certainly led to big things for Berlin-based illustrator Marc Majewski. In 2024, he won the Best Illustrated Children's Book award from The New York Times and the New York Public Library for As Edward Imagined, and he's currently an in–demand artist in both children's publishing and editorial illustration. Marc grew up in the French Alps, near the border with Switzerland, surrounded by nature and with a great love of traditional picture book illustration, which was fed by his aunt. To reach his dream of becoming an illustrator, he trained the classical way, learning to paint highly realistic imagery – what everyone would call "good illustration". But something wasn't right. This just wasn't him. On the side, he would create the loose, playful sketches he loved but never conceived of them as proper illustrations. Marc's new book Parks is out 5 June. "Then I had a moment where I decided I wanted to paint and create with the same joy and freedom I had felt as a child," says Marc. "I stopped making pictures the way I'd been taught and started painting the way I did in my sketchbooks, directly with paint. The result was much livelier and more joyful illustrations." One epiphany was followed by another when he wrote and illustrated Butterfly Child. This wasn't the first book he'd worked on, but to Marc, it felt like it was. He continues: "The book touches on what it was like to be a queer kid in the countryside and on bullying – so parts of me felt like the child in the book. I think making any book is a vulnerable process, but creating something that explores more personal parts of ourselves can trigger a lot. In my case, the fear of being rejected, shamed, or bullied – which are experiences many kids, and especially queer kids, go through." Published in 2022, it has been translated into 10 languages and resonates with children around the world, supporting kids and encouraging them to express who they really are. From Butterfly Child. Marc is drawn to stories that bring that bring nature and creativity together. He grew up in the Alps, and nature continues to inspire him. In Butterfly Child, As Edward Imagined, and Peter Pan, he explores characters who build, craft, and imagine things, bringing their storybook worlds to life; his simple, Lowry-like figures burst with enthusiasm. Peter Pan is one of his favourites so far. "I knew the story before I started the project, but as I dove deeper into it, I began learning about Barrie's life and how much of it was woven into Peter Pan. That really resonated with me and my own work. I was also inspired by the author's playful spirit – how he balanced lightness and whimsy with meaning and depth," says Marc. From Peter Pan. Return of the Wolves. In future, he'd love to work on a film, and Hayao Miyazaki has always been a big influence. If there's one thing he wants to avoid, it's getting too comfortable or set in his ways. "It's important for me to stay connected to that feeling I had when I first embraced the childlike process of painting and to keep my mind open to playful exploration," says Marc.

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Behind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketchesBehind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketchesKeita Takahashi sent over a bunch of adorable To a T storyboard sketches following our chat at GDC 2025. Take a look at a handful of formative sketches from the Wattam and Katamari creator.Chris Kerr, Senior Editor, NewsMay 28, 202516 SlidesImage via Annapurna To a T, the latest whimsical video game from Katamari Damacy and Wattam creator Keita Takahashi, is out today.Inevitably, it's as weird and wonderful as you'd expect. An offbeat adventure about a 13-year-old teenager, appropriately called Teen, whose body happens to be stuck in a permanent T-pose.Over the course of an episodic story, players must help Teen navigate the unique challenges of their daily life alongside a fluffy companion, a host of anthropomorphic animals (including a scene-stealing singing giraffe named Giraffe), and other memorable characters.During a recent interview with Game Developer at GDC 2025, Takahashi explained he envisioned To a T as a "sort of sitcom" and set about storyboarding the game's opening scenes in a bid to communicate his vision for the project.Intrigued by how the game looked during those formative stages, we asked Takahashi whether he'd be willing to send a few of those storyboards careening our way. Thankfully, he obliged, and now we're able to share those charming sketches with you.You can see 15 of those early storyboards in the slideshow above.Then, you can read our deliriously wide-ranging interview with Takahashi to learn more about To a T and the inner-workings of one of the industry's most eclectic designers.About the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

Adapting the iconic, block-based design aesthetic of Mojang’s beloved Minecraft videogame into the hit feature film comedy adventure, The Minecraft Movie, posed an enormous number of hurdles for director Jared Hess and Oscar-winning Production VFX Supervisor Dan Lemmon. Tasked with helping translate the iconic pixelated world into something cinematically engaging, while remaining true to its visual DNA, was Wētā FX, who delivered 450 VFX shots on the film. And two of their key leads on the film were VFX Supervisor Sheldon Stopsack and Animation Supervisor Kevin Estey.  But the shot count merely scratches the surface of the extensive work the studio performed. Wētā led the design and creation of The Overworld, 64 unique terrains spanning deserts, lush forests, oceans, and mountain ranges, all combined into one continuous environment, assets that were also shared with Digital Domain for their work on the 3rd act battle. Wētā also handled extensive work on the lava-filled hellscape of The Nether that involved Unreal Engine for early representations used in previs, scene scouting, and onset during principal photography, before refining the environment during post-production. They also dressed The Nether with lava, fire, and torches, along with atmospherics and particulate like smoke, ash, and embers. But wait… there’s more! The studio’s Art Department, working closely with Hess, co-created the look and feel of all digital characters in the film. For Malgosha’s henchmen, the Piglins, Wētā designed and created 12 different variants, all with individual characteristics and personalities. They also designed sheep, bees, pandas, zombies, skeletons, and lovable wolf Dennis. Many of these characters were provided to other vendors for their work on the film. Needless to say, the studio truly became a “Master Builder” on the show. The film is based on the hugely popular game Minecraft, first released by Sweden’s Mojang Studios in 2011 and purchased by Microsoft for $2.5 billion in 2014, which immerses players in a low-res, pixelated “sandbox” simulation where they can use blocks to build entire worlds.  Here's the final trailer: In a far-ranging interview, Stopsack and Estey shared with AWN a peek into their creative process, from early design exploration to creation of an intricate practical cloak for Malgosha and the use of Unreal Engine for previs, postvis, and real-time onset visualization. Dan Sarto: The film is filled with distinct settings and characters sporting various “block” styled features. Can you share some of the work you did on the environments, character design, and character animation? Sheldon Stopsack: There's, there's so much to talk about and truth to be told, if you were to touch on everything, we would probably need to spend the whole day together.  Kevin Estey: Sheldon and I realized that when we talk about the film, either amongst ourselves or with someone else, we could just keep going, there are so many stories to tell. DS: Well, start with The Overworld and The Nether. How did the design process begin? What did you have to work with? SS: Visual effects is a tricky business, you know. It's always difficult. Always challenging. However, Minecraft stood out to us as not your usual quote unquote standard visual effects project, even though as you know, there is no standard visual effects project because they're all somehow different. They all come with their own creative ideas, inspirations, and challenges. But Minecraft, right from the get-go, was different, simply by the fact that when you first consider the idea of making such a live-action movie, you instantly ask yourself, “How do we make this work? How do we combine these two inherently very, very different but unique worlds?” That was everyone’s number one question. How do we land this? Where do we land this? And I don't think that any of us really had an answer, including our clients, Dan Lemmon [Production VFX Supervisor] and Jared Hess [the film’s director]. Everyone was really open for this journey. That's compelling for us, to get out of our comfort zone. It makes you nervous because there are no real obvious answers. KE: Early on, we seemed to thrive off these kinds of scary creative challenges. There were lots of question marks. We had many moments when we were trying to figure out character designs. We had a template from the game, but it was an incredibly vague, low-resolution template. And there were so many ways that we could go. But that design discovery throughout the project was really satisfying.  DS: Game adaptations are never simple. There usually isn’t much in the way of story. But with Minecraft, from a visual standpoint, how did you translate low res, block-styled characters into something entertaining that could sustain a 100-minute feature film? SS: Everything was a question mark. Using the lava that you see in The Nether as one example, we had beautiful concept art for all our environments, The Overworld and The Nether, but those concepts only really took you this far. They didn’t represent the block shapes or give you a clear answer of like how realistic some of those materials, shapes and structures would be. How organic would we go? All of this needed to be explored. For the lava, we had stylized concept pieces, with block shaped viscosity as it flowed down. But we spent months with our effects team, and Dan and Jared, just riffing on ideas. We came full circle, with the lava ending up being more realistic, a naturally viscous liquid based on real physics. And the same goes with the waterfall that you see in the Overworld.  The question is, how far do we take things into the true Minecraft representation of things? How much do we scale back a little bit and ground ourselves in reality, with effects we’re quite comfortable producing as a company? There's always a tradeoff to find that balance of how best to combine what’s been filmed, the practical sets and live-action performances, with effects. Where’s the sweet spot? What's the level of abstraction? What's honest to the game? As much as some call Minecraft a simple game, it isn't simple, right? It's incredibly complex. It's got a set of rules and logic to the world building process within the game that we had to learn, adapt, and honor in many ways. When our misfits first arrive and we have these big vistas and establishing shots, when you really look at it, you, you recognize a lot of the things that we tried to adapt from the game. There are different biomes, like the Badlands, which is very sand stoney; there's the Woodlands, which is a lush environment with cherry blossom trees; you’ve got the snow biome with big mountains in the background. Our intent was to honor the game. KE: I took a big cue from a lot of the early designs, and particularly the approach that Jared liked for the characters and to the design in general, which was maintaining the stylized, blocky aesthetic, but covering them in realistic flesh, fur, things that were going to make them appear as real as possible despite the absolutely unreal designs of their bodies. And so essentially, it was squared skeleton… squarish bones with flesh and realistic fur laid over top. We tried various things, all extremely stylized. The Creepers are a good example. We tried all kinds of ways for them to explode. Sheldon found a great reference for a cat coughing up a hairball. He was nice to censor the worst part of it, but those undulations in the chest and ribcage… Jared spoke of the Creepers being basically tragic characters that only wanted to be loved, to just be close to you. But sadly, whenever they did, they’d explode. So, we experimented with a lot of different motions of how they’d explode. DS: Talk about the process of determining how these characters would move. None seem to have remotely realistic proportions in their limbs, bodies, or head size. KE: There were a couple things that Jared always seemed to be chasing. One was just something that would make him laugh. Of course, it had to sit within the bounds of how a zombie might move, or a skeleton might move, as we were interpreting the game. But the main thing was just, was it fun and funny? I still remember one of the earliest gags they came up with in mocap sessions, even before I even joined the show, was how the zombies get up after they fall over. It was sort of like a tripod, where its face and feet were planted and its butt shoots up in the air. After a lot of experimentation, we came up with basic personality types for each character. There were 12 different types of Piglins. The zombies were essentially like you're coming home from the pub after a few too many pints and you're just trying to get in the door, but you can't find your keys. Loose, slightly inebriated movement. The best movement we found for the skeletons was essentially like an old man with rigid limbs and lack of ligaments that was chasing kids off his lawn. And so, we created this kind of bible of performance types that really helped guide performers on the mocap stage and animators later on. SS: A lot of our exploration didn’t stick. But Jared was the expert in all of this. He always came up with some quirky last-minute idea.  KE: My favorite from Jared came in the middle of one mocap shoot. He walked up to me and said he had this stupid idea. I said OK, go on. He said, what if Malgosha had these two little pigs next to her, like Catholic alter boys [the thurifers], swinging incense [a thurible]. Can we do that? I talked to our stage manager, and we quickly put together a temporary prop for the incense burners. And we got two performers who just stood there. What are they going to do? Jared said, “Nothing. Just stand there and swing. I think it would look funny.” So, that’s what we did.  We dubbed them the Priesty Boys. And they are there throughout the film. That was amazing about Jared. He was always like, let's just try it, see if it works. Otherwise ditch it. DS: Tell me about your work on Malgosha. And I also want to discuss your use of Unreal Engine and the previs and postvis work.  SS: For Malgosha as a character, our art department did a phenomenal job finding the character design at the concept phase. But it was a collective effort. So many contributors were involved in her making. And I'm not just talking about the digital artists here on our side. It was a joint venture of different people having different explorations and experiments. It started off with the concept work as a foundation, which we mocked up with 3D sketches before building a model. But with Malgosha, we also had the costume department on the production side building this elaborate cloak. Remember, that cloak kind of makes 80, 85% of her appearance. It's almost like a character in itself, the way we utilized it. And the costume department built this beautiful, elaborate, incredibly intricate, practical version of it that we intended to use on set for the performer to wear. It ended up being too impractical because it was too heavy. But it was beautiful. So, while we didn't really use it on set, it gave us something physically to kind of incorporate into our digital version. KE: Alan Henry is the motion performer who portrayed her on set and on the mocap stage. I've known him for close to 15 years. I started working with him on The Hobbit films. He was a stunt performer who eventually rolled into doing motion capture with us on The Hobbit. He’s an incredible actor and absolutely hilarious and can adapt to any sort of situation. He’s so improvisational. He came up with an approach to Malgosha very quickly. Added a limp so that she felt decrepit, leaning on the staff, adding her other arm as kind of like a gimp arm that she would point and gesture with.   Even though she’s a blocky character, her anatomy is very much a biped, with rounder limbs than the other Piglins. She's got hooves, is somewhat squarish, and her much more bulky mass in the middle was easier to manipulate and move around. Because she would have to battle with Steve in the end, she had to have a level of agility that even some of the Piglins didn't have. DS: Did Unreal Engine come into play with her?  SS: Unreal was used all the way through the project. Dan Lemmon and his team early on set up their own virtual art department to build representations of the Overworld and the Nether within the context of Unreal. We and Sony Imageworks tried to provide recreations of these environments that were then used within Unreal to previsualize what was happening on set during shooting of principal photography. And that's where our mocap and on-set teams were coming into play. Effects provided what we called the Nudge Cam. It was a system to do real-time tracking using a stereo pair of Basler computer vision cameras that were mounted onto the sides of the principal camera. We provided the live tracking that was then composited in real time with the Unreal Engine content that all the vendors had provided. It was a great way of utilizing Unreal to give the camera operators or DOP, even Jared, a good sense of what we would actually shoot. It gave everyone a little bit of context for the look and feel of what you could actually expect from these scenes.  Because we started this journey with Unreal having onset in mind, we internally decided, look, let's take this further. Let's take this into post-production as well. What would it take to utilize Unreal for shot creation? And it was really exclusively used on the Nether environment. I don’t want to say we used it for matte painting replacement. We used it more for say, let's build this extended environment in Unreal. Not only use it as a render engine with this reasonably fast turnaround but also use it for what it's good at: authoring things, quickly changing things, moving columns around, manipulating things, dressing them, lighting them, and rendering them. It became sort of a tool that we used in place of a traditional matte painting for the extended environments. KE: Another thing worth mentioning is we were able to utilize it on our mocap stage as well during the two-week shoot with Jared and crew. When we shoot on the mocap stage, we get a very simple sort of gray shaded diagnostic grid. You have your single-color characters that sometimes are textured, but they’re fairly simple without any context of environment. Our special projects team was able to port what we usually see in Giant, the software we use on the mocap stage, into Unreal, which gave us these beautifully lit environments with interactive fire and atmosphere. And Jared and the team could see their movie for the first time in a rough, but still very beautiful rough state. That was invaluable. DS: If you had to key on anything, what would say with the biggest challenges for your teams on the film? You're laughing. I can hear you thinking, “Do we have an hour?”  KE: Where do you begin?  SS: Exactly. It's so hard to really single one out. And I struggle with that question every time I've been asked that question. KE: I’ll start.  I've got a very simple practical answer and then a larger one, something that was new to us, kind of similar to what we were just talking about. The simple practical one is the Piglins square feet with no ankles. It was very tough to make them walk realistically. Think of the leg of a chair. How do you make that roll and bank and bend because there is no joint? There are a lot of Piglins walking on surfaces and it was a very difficult conundrum to solve. It took a lot of hard work from our motion edit team and our animation team to get those things walking realistically. You know, it’s doing that simple thing that you don't usually pay attention to. So that was one reasonably big challenge that is often literally buried in the shadows. The bigger one was something that was new to me. We often do a lot of our previs and postvis in-house and then finish the shots. And just because of circumstances and capacity, we did the postvis for the entire final battle, but we ended up sharing the sequence with Digital Domain, who did an amazing job completing some of the stuff on the Battlefield we did post on. For me personally, I've never experienced not finishing what I started. But it was also really rewarding to see how well the work we had put in was honored by DD when they took it over.   SS: I think the biggest challenge and the biggest achievement that I'm most proud of is really ending up with something that was well received by the wider audience. Of creating these two worlds, this sort of abstract adaptation of the Minecraft game and combining it with live-action. That was the achievement for me. That was the biggest challenge. We were all nervous from day one. And we continued to be nervous up until the day the movie came out. None of us really knew how it ultimately would be received. The fact that it came together and was so well received is a testament to everyone doing a fantastic job. And that's what I'm incredibly proud of. Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.