Clever microsite from Burke Holland and Sarah Drasner that highlights some of VS Code’s coolest features. All fifteen of them are pretty darn cool. Here’s a few other compelling features I’ve seen people use/love:
Personally, I’m still on Sublime. I gave VS Code the college try last year but failed. I can’t even remember why now, which means it’s probably about time to try again. If it was slowness, maybe it was because I was using too many add-ons.
Welcome back to another Illustrator
tutorial, in which we’re going to take a close look at the process of
creating a scary scene. You’ll see how easy it is to put it together using nothing
more than a few geometric shapes and tools.
So assuming you already
grabbed a fresh mug of coffee, let’s get started!
Also, don’t forget you can always add new elements to the illustration by heading over to GraphicRiver, where you’ll find a great selection of scary vector assets.
1. How to Set Up a New Project File
Assuming you already have Illustrator up
and running in the background, bring it up and let’s set up a New Document (File > New or Control-N)
which we will adjust as follows:
Number
of Artboards: 1
Width: 800
px
Height: 600
px
Units: Pixels
And from the Advanced tab:
Color
Mode: RGB
Raster
Effects: Screen (72ppi)
Preview Mode: Default
2. How to Set Up the Layers
Once we’ve finished setting up our project
file, it would be a good idea to structure our document using a couple of
layers, since this way we can maintain a steady workflow by focusing on one
section of the illustration at a time.
That being said, bring up the Layers panel, and create a total of two
layers, which we will rename as follows:
layer
1: background
layer 2: foreground
Quick tip: I’ve colored all of
my layers using the same green value, since it’s the easiest one to view when
used to highlight your selected shapes (whether they’re closed or open paths).
3. How to Create the Main Background Shape
Now that we’ve finished layering our
document, we can start working on the actual project, and we will do so by
gradually building the background. That being said, make sure you’ve positioned
yourself on the first layer, and let’s jump straight into it!
Using the Rectangle Tool (M), create an 800 x 600 px rectangle, which we will
color using #2A323D and then position in the center of the underlying Artboard
using the Align panel’s Horizontal and Vertical Align Center options.
4. How to Create the Brick Wall
With the main background shape in place,
we can shift our focus over to the center of the Artboard, where we will create
the visible section of the brick wall.
Step 1
Start by creating a 480 x 396 px rectangle, which we will
color using #F76C5E and then center align to the underlying Artboard, positioning it at a distance of 78 px from
its top edge.
Step 2
Adjust the upper
section of the shape by individually selecting its two anchor points using the Direct Selection Tool (A), and then
pushing them to the inside by 200 px using the Move tool
(right click > Transform > Move
> Horizontal > +/- 200 px depending on which side you start with).
Step 3
Start adding the
first row of bricks using sixteen 32 x
16 px rectangles with a 4 px thick Stroke (#DD4C45), which we will
group using the Control-G keyboard
shortcut and then center align to the bottom of the wall, making sure that
their bottom outline falls outside of its surface.
Step 4
Create a copy (Control-C > Control-F) of the row
that we’ve just grouped, and then position it above, making sure to push it to
the right by 16 px
using either the directional arrow keys or the Move tool (right click >
Transform > Move > Horizontal > 16 px).
Step 5
Add the remaining
bricks by selecting the two rows that we currently have and then dragging them
to the top while holding down the Alt
and Shift keys, making sure their
outlines overlap as seen in the reference image.
As soon as you have the first duplicates,
add the remaining ones by pressing the Control-D
keyboard shortcut until you’ve filled in the wall. Once you’re done, remove the
extra top row and then select and group (Control-G)
all the remaining ones together before moving on to the next step.
Step 6
Next, we’re going to mask the
rows that we’ve just grouped using a copy (Control-C)
of the underlying wall, which we will paste in front (Control-F) and then, with both of them selected, simply right click > Make Clipping Mask.
Step 7
Take a couple of
moments and enhance some of the bricks by double clicking on them to isolate
them, and then opening up either their top or bottom paths as seen in the
reference image. Once you’re done, press the Escape key to exit Isolation
Mode, and then select both the bricks and the wall and group them together
using the Control-G keyboard
shortcut.
5. How to Create the Sidewalk
Now that we’ve finished working on the
brick wall, we can move towards the bottom of the Artboard, where we will
quickly build the sidewalk.
Step 1
Create the main shape
for the projected light using a 560 x 48
px ellipse, which we will color using #F76C5E and then position below the wall
as seen in the reference image.
Step 2
Add the visible
section of the sidewalk using a 560 x 24
px rectangle (#2A323D), which we will position on the upper half of the
ellipse, making sure to select and group the two together afterwards using the Control-G keyboard shortcut.
6. How to Create the Suspended Street
Light
With the wall and sidewalk in place, we
can now focus on the last piece of the background, which we will create one
shape at a time.
Step 1
Create the vertical
body of the post using an 8 x 48 px rounded
rectangle (#2A323D) with a 4 px Corner
Radius, which we will center align to the wall’s top edge as seen in the
reference image.
Step 2
Add the horizontal segment
holding the post to the wall using a 16
x 12 px rectangle (#2A323D), which we will position 8 px from the previous shape’s bottom
edge.
Step 3
Create the little
side details using two 2 x 4 px rectangles, which we will color using #2A323D and then position as seen in the reference
image. Once you’re done, select and group the four shapes together using the Control-G keyboard shortcut.
Step 4
Add the light bulb
using a 28 x 16 px ellipse, which we
will color using #FFE7C5 and then position on the upper section of the stand
so that its upper half goes outside of the wall’s surface.
Step 5
Adjust the shape that
we’ve just created by removing its upper half. You can do that by selecting its top anchor point
using the Direct Selection Tool (A)
and then pressing Delete, making sure
to close the resulting path using the Control-J
keyboard shortcut. Once you’re done, select and group (Control-G) all of the light’s composing shapes together, doing the
same for the entire background before locking the current layer and moving on
to the next section of the illustration.
7. How to Create the Door Entrance
Now that we have our background in place,
we can shift our focus over to the foreground, where we will continue working
on our scene. So assuming you’ve positioned yourself on the second layer,
let’s start working on the little door frame.
Step 1
Create the inner
section of the room using a 120 x 278 px rectangle, which we will color using #2A323D and then center align to the
upper edge of the sidewalk.
Step 2
Start working on the
right section of the door frame by creating an 18 x 278 px rectangle (#FFE7C5), which we will position on the
left side of the previous shape.
Step 3
Add the bottom
decorative insertion using a 10 x 96 px rectangle
(#2A323D), on top of which we will add a smaller 2 x 88 px one (#FFE7C5), which we will group (Control-G) and then position 4 px from the previous shape’s bottom edge.
Step 4
Create the upper
insertion using a copy (Control-C >
Control-F) of the one that we’ve just grouped, which we will then position
on the opposite side of the frame, making sure to maintain the same 4 px gap.
Step 5
Add the vertical
detail lines using three 2 x 70 px rectangles
(#2A323D) which we will horizontally stack 2 px from one another, grouping (Control-G) and then positioning them between the two decorative
insertions.
Step 6
Finish off the
current section of the frame by adding the hard shadow using an 18 x 8 px rectangle, which we will color
using #2A323D and then align to the upper edge of the frame. Once you’re done,
select and group (Control-G) all of its composing shapes together before moving on to the
next step.
Step 7
Create the left section of the frame using a copy (Control-C
> Control-F) of the one that we’ve just finished working on, which we
will position on the opposite side of the entrance.
Step 8
Start working on the
upper section of the frame by creating a 172
x 18 px rectangle (#FFE7C5), which we will position on top of the entrance, as seen in the reference image.
Step 9
Add the round decorative
elements using two 14 x 14 px circles
(#FFE7C5), which we will position on the upper section of the frame, making
sure to center align them to the frame’s side sections.
Step 10
Create the decorative
insertion using a 164 x 10 px rectangle
(#2A323D), on top of which we will add a smaller 156 x 2 px one (#FFE7C5), grouping (Control-G) and then positioning the two in the center of the
frame’s top section.
Step 11
Add the main shape
for the raised portion using a 108 x 12
px rectangle, which we will color using #FFE7C5 and then position as seen
in the reference image.
Step 12
Create the side
curvatures using two 6 x 6 px circles
(#FFE7C5), which we will position on the sides of the previous shape and then
adjust by selecting their top and outer anchor points using the Direct Selection Tool (A) and then
removing them by pressing Delete.
Close the resulting paths using the Pen
Tool (P), and once you’re done, move on to the next step.
Step 13
Add the vertical
insertion lines using thirteen 4 x 8 px rectangles
(#2A323D) horizontally stacked 4 px from
one another, grouping (Control-G)
and then center aligning them to the bottom edge of the raised section. Take
your time, and once you’re done, make sure you select and group (Control-G) all of the current section’s
composing shapes together, doing the same for the entire door afterwards.
8. How to Create the Doorbell
Once we’ve finished working on the
entrance, we can move over to its right side and quickly create the little
doorbell.
Step 1
Create the base of
the bell using an 8 x 12 px rectangle, which we will color using #FFE7C5 and then position 14 px from the door frame’s right
section and 16 px from its three
vertical insertion lines.
Step 2
Add the smaller side
sections using two 2 x 8 px rectangles, which we will color using #FFE7C5 and then position as seen in the reference
image.
Step 3
Create the round
endpoints using two 4 x 4 px circles
(#FFE7C5), which we will position onto the doorbell’s center shape so that
their inner halves overlap it.
Step 4
Finish off the
doorbell by adding the little button using a 4 x 4 px circle, which we will color using #2A323D and then center
align to the larger body. Once you’re done, select and group (Control-G) all of its composing shapes, before moving on to the next section of the illustration.
9. How to Create the Scary Monster
As soon as we’ve finished working on the
doorbell, we can shift our focus back to the entrance, where we will change the
mood of the scene by adding the dark yet friendly presence.
Step 1
Start working on the
mouth by creating a 56 x 8 px ellipse, which we will color using #F76C5E and then center align to the entrance,
positioning it 84 px from
its top edge.
Step 2
Adjust the shape that we’ve just created by
first selecting it and then pinching its left and right anchor points using the Anchor Point Tool (Shift-C).
Step 3
Select the resulting
shape’s top anchor point using the Direct
Selection Tool (A) and then push it to the bottom by 16 px using the Move tool (right click >
Transform > Move > Vertical > 16 px).
Step 4
With the fill color
set to #2A323D, draw the crooked teeth with the help of the Pen Tool (P), using the reference image
as your main guide. Once you’re done, select the resulting
shape and the mouth and group the two together using the Control-G keyboard shortcut.
Step 5
Create the main shape
for the right eye using a 10 x 10 px circle
(#F76C5E), which we will adjust by selecting and pushing its top and bottom
anchor points to the right side by 1 px and its left and right ones to the bottom by another 1 px. Once you’re done, position the
resulting shape above the mouth as seen in the reference image.
Step 6
Add the iris using a 2 x 6 px ellipse (#2A323D), which we
will center align to the resulting eye, making sure to position it 3 px from its right
edge. Once you have the shape in place, select and group the two together using
the Control-G keyboard shortcut.
Step 7
Create the left eye
using a copy (Control-C > Control-F)
of the one that we’ve just finished working on, which we will vertically reflect
(right click > Transform > Reflect
> Vertical) and then position on the opposite side of the mouth. Once
you’re done, select and group (Control-G)
all of the monster’s composing shapes, before moving on to the next section.
10. How to Create the Ball
We are now down to the last section of our
little composition, which will help us achieve that level of scariness that we
want our illustration to portray. So, assuming you’ve finished working on the
monster, shift your focus over to the bottom section of the entrance, and let’s
wrap things up!
Step 1
Create the main shape
of the ball using a 28 x 28 px circle, which we will color using #F76C5E and then align to the entrance’s bottom edge.
Step 2
Add the little rings
using four 32 x 16 px ellipses with
a 2 px thick Stroke (#2A323D), which we will adjust by selecting and removing
their top anchor points, vertically stacking the resulting shapes 4 px from one another. Once you’re
done, select and group (Control-G)
all the rings together, doing the same for the entire ball afterwards.
Step 3
Create the main shape
for the dripping blood using a 4 x 8 px rectangle
(#F76C5E), which we will adjust by setting the Radius of its bottom corners to 2 px from within the Transform panel’s Rectangle Properties,
positioning the resulting shape on the sidewalk as seen in the reference
image.
Step 4
Add the side sections
using two 4 x 4 px circles (#F76C5E), which we will adjust by removing their bottom and outer anchor points, closing
and positioning the resulting paths on the sides of the previous shapes as seen
in the reference image. Make sure to select and group (Control-G) all three of them afterwards.
Step 5
Finish off the current section, and with it the project itself, by adding the projected shadow, which we will
create using a 24 x 20 px ellipse (#2A323D). Position it on the lower section of the sidewalk, at a distance of 10 px from the projected light’s
bottom edge. Once you’re done, select and group all of the foreground’s
composing shapes using the Control-G
keyboard shortcut, before hitting that save button.
Great Job!
As always, I hope you had fun working on
the project and most importantly managed to learn something new and useful
along the way.
If you have any questions, feel free to post them within the comments section, and
I’ll get back to you as soon as I can!
Beard fashion was bad for Gillette and for babies, whose only language of communication is touch. Research proved that soft warm contact is essential for development. We convinced dads to sacrifice their beards by launching the first-ever skin to surface haptics campaign. Haptic technology uses electrostatic forces to manipulate the friction between finger and screen. Our tablets featured in maternity wards, birth classes and baby-fairs enabling expecting parents to contrast the scratch of a beard stubble vs. a clean-shaven face, just as a baby would.
Plus, for better or worse, people like having links that are styled to match the look of other true buttons on the site
<a href="#0" class="button">Button</a>
One challenge is getting all those elements to look and layout exactly the same. We’ll cover that a few ways.
Another challenge is getting people to use them correctly
This is a bit surprising to me — but I hear it often enough to worry about it — is that more and more developers are using <div>s for buttons. As in, they just reach for whatever generic, styling-free HTML is handy and build it up as needed. Andy Bell explains why a real button is better:
So, <button> elements are a pain in the butt to style right? That doesn’t mean you should attach your JavaScript events to a <div> or an <a href="#"> though. You see, when you use a <button>, you get keyboard events for free. You’re also helping screen reader users out because it’ll announce the element correctly.
And here’s Andy again helping you out with a chunk of CSS that’ll get you a cleanly styled button:
It’s that styling that just might be the mental roadblock
It’s a bit understandable. Buttons are weird! They have a good amount of default styling (that come from the „User Agent Stylesheet”) that varies from browser to browser and means you have work to do to get them exactly how you want.
See all the weirdness there?
Without any styling, the button is kinda little and has that native border/border-radius/box-shadow thing going on.
Just by setting the font-size, we lose all those defaults, but it’s got a new default look, one with a border and square corners, a gradient background, and no box-shadow. This is essentially -webkit-appearance: button;.
Buttons have their own font-family, so don’t inherit from the cascade unless you tell it to.
Here’s Chrome’s user agent stylesheet for buttons:
Firefox behaves a bit differently. See in the video above how setting border: 0; removed the border in Chrome, but also the background? Not the case in Firefox:
I only point this out to say, I get it, buttons are truly weird things in browsers. Factor in a dozen other browsers, mobile, and the idea that we want to style all those different elements to look exactly the same (see the opening of the article), and I have a modicum of empathy for people wanting to avoid this.
/**
* 1. Change the font styles in all browsers.
* 2. Remove the margin in Firefox and Safari.
*/
button,
input,
optgroup,
select,
textarea {
font-family: inherit; /* 1 */
font-size: 100%; /* 1 */
line-height: 1.15; /* 1 */
margin: 0; /* 2 */
}
/**
* Show the overflow in IE.
* 1. Show the overflow in Edge.
*/
button,
input { /* 1 */
overflow: visible;
}
/**
* Remove the inheritance of text transform in Edge, Firefox, and IE.
* 1. Remove the inheritance of text transform in Firefox.
*/
button,
select { /* 1 */
text-transform: none;
}
/**
* Correct the inability to style clickable types in iOS and Safari.
*/
button,
[type="button"],
[type="reset"],
[type="submit"] {
-webkit-appearance: button;
}
I was a tiny bit surprised to see WTF, Forms? not cover buttons, only because of how much weirdness there is. But the form elements that project whips into shape are even more notoriously difficult!
A Style-Testing Kinda Thingy
I feel like the answer to this is basically a big ol’ block of CSS. That’s what Andy provided, and you could very likely come to one on your own by just being a little heavier handed than the usual of setting style rules with your buttons.
Still, I felt compelled to make a little tester machine thingy so you can toggle styles on and off and see how they all go together in whatever browser you happen to be in:
The biggest point here is to use the correct native elements, as you get a bunch of functionality and accessibility for free. But you might as well get the styling right, too!
Warning: Be careful when marking up links with the button role. Buttons are expected to be triggered using the Space key, while links are expected to be triggered through the Enter key. In other words, when links are used to behave like buttons, adding role="button" alone is not sufficient. It will also be necessary to add a key event handler that listens for the Space key in order to be consistent with native buttons.
You don’t need role="button" on <button> because they are already buttons, but if you’re going to make any other element button-like, you have more work to do to mimic the functionality.
Plus, don’t forget about :hover and :focus styles! Once you’ve wrangled in the styles for the default state, this shouldn’t be so hard, but you definitely need them!
Learn how to create Photoshop text effects in this beginner’s tutorial. You’ll be shown how to create a Photoshop action for your text effect and more.
This text effect that we are going to create is part of Super Bundle Styles. This is a collection of 146 unique styles and is the first bundle of the series.
Image inside the zip file attached to this tutorial (optional)
1. How to Create the Text Effect
Step 1
Create a new 850 x 500 px 72 dpi document and name it Glass Text Effect. Then place an image that you’d like to use as the background.
I’m going to use an abstract image that I created. This image is attached to this tutorial.
Step 2
Go to Window > Character to open the Character panel. Then change the font to Soviet Program, the text size to 130 pt, and the color to white #ffffff, and turn Faux Bold On.
After that, pick the Horizontal Type Tool (T) and write GLASS.
Step 3
Select the text layer and change the Fill Opacity to 0%. Then go to Layer > Layer Style > Blending Options to open the Layer Style panel.
Step 4
To create this text effect, we need two layers. So let’s first create a border with a simple shadow.
Add a Drop Shadow with these settings:
Blend Mode: Normal
Color:#000000
Opacity: 100%
Use Global Light: Off
Angle: 120°
Distance: 5 px
Spread: 21%
Size: 9 px
Contour: Linear
Anti-aliased: Off
Noise: 0%
Layer Knocks Out Drop Shadow: On
Step 5
Add a Stroke with these settings:
Size: 4 px
Position: Outside
Blend Mode: Normal
Opacity: 78%
Overprint: Off
Fill Type: Gradient
Reverse: Off
Align with Layer: On
Style: Linear
Angle: 75°
Dither: Off
Scale: 100%
Click on the gradient bar to create a new gradient.
Note that we have to add stops above (Opacity) and below (Colors) the gradient bar.
Let’s first add stops for opacity:
Stop 1: Location: 0% Opacity: 0%
Stop 2: Location: 4% Opacity: 100%
Stop 3: Location: 26% Opacity: 0%
Stop 4: Location: 43% Opacity: 100%
Stop 5: Location: 64% Opacity: 0%
Stop 6: Location: 85% Opacity: 100%
Stop 7: Location: 100% Opacity: 0%
Then add stops for the colors below the gradient bar with these settings:
Stop 1: Location: 0% Color: #ffffff
Stop 2: Location: 6% Color:#ffffff
Stop 3: Location: 7% Color:#194962
Stop 4: Location: 41% Color:#ffffff
Stop 5: Location: 42% Color:#194962
Stop 6: Location: 84% Color:#e0e0e0
Stop 7: Location: 85% Color:#194962
Then name it Glass Gradient and click on New to add this gradient to the presets, we are going to use it later.
Step 6
Now add a Bevel & Emboss with these settings:
Style: Stroke Emboss
Technique: Smooth
Depth: 1000%
Direction: Down
Size: 1 px
Soften: 0 px
Use Global Light: Off
Angle: 86°
Altitude: 21°
Gloss Contour: Cove – Shallow
Highlight Mode: Screen
Highlight Color:#ffffff
Highlight Opacity: 75%
Shadow Mode: Multiply
Shadow Color:#000000
Shadow Opacity: 29%
Then activate the Contour option of Bevel & Emboss with these settings:
Contour: Linear
Anti-aliased: Off
Range: 50%
Step 7
Now add an Inner Glow with these settings:
Blend Mode: Normal
Opacity: 75%
Noise: 0%
Color:#fdfdfd
Technique: Softer
Source: Edge
Choke: 0%
Size: 2 px
Contour: Linear
Anti-aliased: Off
Range: 50%
Jitter: 0%
Step 8
Add an Outer Glow with these settings:
Blend Mode: Normal
Opacity: 72%
Noise: 0%
Color:#b0f1ff
Technique: Softer
Spread: 91%
Size: 4 px
Contour: Linear
Anti-aliased: On
Range: 100%
Jitter: 0%
After that, click OK.
Step 9
Press Control-J to duplicate the text layer, and then rename this copy Glass 2. After that, Double-Click the layer Glass 2 to open the Layer Style panel.
Add a Gradient Overlay with these settings:
Blend Mode: Normal
Dither: Off
Opacity: 100%
Reverse: Off
Style: Linear
Align with Layer: On
Angle: 90°
Scale: 100%
Click on the gradient bar and create a new gradient with these settings:
Stop 1: Location: 0% Color:#40006e
Stop 2: Location: 51% Color:#b900ce
Stop 3: Location: 100% Color:#40006e
Step 10
Now add a Color Overlay with these settings:
Blend Mode: Color
Color:#ff003c
Opacity: 100%
The Color Overlay will make it easier for you to change the color of the text effect later.
Step 11
Now let’s make the text effect look glossy.
Add a Bevel & Emboss with these settings:
Style: Inner Bevel
Technique: Smooth
Depth: 317 %
Direction: Up
Size: 43 px
Soften: 0 px
Use Global Light: Off
Angle: 90°
Altitude: 37°
Gloss Contour: Rolling Slope – Descending
Highlight Mode: Screen
Highlight Color:#ffffff
Highlight Opacity: 16%
Shadow Mode: Multiply
Shadow Color:#000000
Shadow Opacity: 4%
Step 12
Add an Inner Shadow with these settings:
Blend Mode: Vivid Light
Color: #baf3ff
Opacity: 100%
Use Global Light: Off
Angle: 120°
Distance: 0 px
Choke: 0%
Size: 18 px
Contour: Linear
Anti-aliased: Off
Noise: 0%
Step 13
Add a Stroke with these settings:
Size: 3 px
Position: Center
Blend Mode: Normal
Opacity: 78%
Overprint: Off
Fill Type: Gradient
Gradient: Glass Gradient (the one we created)
Reverse: Off
Style: Linear
Align with Layer: On
Angle: 78°
Dither: Off
Scale: 150%
Step 14
Add an Inner Glow with these settings:
Blend Mode: Normal
Opacity: 100%
Noise: 0%
Color:#000000
Technique: Softer
Source: Edge
Choke: 59%
Size: 3 px
Contour: Linear
Anti-aliased: On
Range: 100%
Jitter: 0%
Step 15
Add a Drop Shadow with these settings:
Blend Mode: Multiply
Color: #0076a2
Opacity: 71%
Use Global Light: Off
Angle: 120°
Distance: 3 px
Spread: 7 %
Size: 2 px
Contour: Linear
Anti-aliased: Off
Noise: 0%
Layer Knocks Out Drop Shadow: On
After that, click OK.
2. How to Create the Action
Now that we have the styles complete, we are going to create an action to make it easier to apply the effect to anything we want.
Step 1
Select the first text layer (glass) on the Layers panel, and then go to Window > Styles to open the Styles panel.
After that, click on the little Create New Style icon on the Styles panel, name it Glass – A, and click OK.
Do the same for the second text layer (glass 2), naming it Glass – B.
Step 2
Go to Window > Actions to open the Actions panel. Then click on Create new set, name it Glass Text Effect, and click OK.
Step 3
Before we start recording the new action, go to the Layers panel and click to select the first text layer.
Then go back to the Actions panel, and click on the Create New Action icon. Name it Red Glass Text Effect, and click on Record.
Step 4
Go to the Styles panel and click on the Glass – A style.
Step 5
Now press Control-J to duplicate the layer, and rename it glass TOP.
After that, go to the Styles panel again and click on the Glass – B style. And finally, go to the Actions panel and click on the Stop Recording icon.
And We’re Done!
To apply the effect to some text, you have to select the Red Glass Text Effect action in the Actions panel and then click on Play.
The action will automatically duplicate the layer and apply both styles correctly.
In this tutorial, you learned how to create a glass effect using a simple gradient. You also learned how to use two layers to create a single text effect. Then you learned how to create an action to apply the effect to anything you want with a single click.
We create a line of school notebooks, changing the stock images of animals of the cover by rescue animals with their stories, to educate to the children about the adoption and respect for the animals.
1 in 9 adolescents is a victim of cyberbullying. Nearly half of them have never reported it. Unlike physical bullying that leaves behind scars and bruises, online bullying is much harder to spot. Daniel represents every child who has been silenced through technology. By creating digital billboards that project soundwaves inaudible for the human ear, Shazam recognized the “silence” and helped Daniel and other victims to speak up.
With the Pepsi Vintage chatbot, users can take a trip down memory lane to see how the Pepsi can looked in the year they were born! Launched through out the Middle East this unique Pepsi chatbot also let users create their customized Pepsi cans with their name’s on it. You could also buy online or buy in store once you browse through the vintage Pepsi cans. Users can search for „Pepsi Vintage Chatbot” on Messenger or visit https://m.me/PepsiVintageChatbot to interact it! The chatbot was built by alivenow, a leading digital agency with a focus on tech.
