What is the best thing you have ever heard a teacher say?

What is the best thing you have ever heard a teacher say? by James MacKinnon

Answer by James MacKinnon:

You know that one kid that doesn’t give a flying FUCK about his education? I have one in my class right now and his name is Andrew. Now I go to an all boys school and of course since there are no girls around we were acting like complete idiots. One day an essay was due for history the next day. So Andrew decided to provoke the teacher by asking for an extension. Of course he did’t word it like that. This is the conversation that they had in the middle of class. It reminded me of that scene in Top Gun when Tom Cruise is talking in class.

Teacher “Remember guys the essay on the Mongols is due tomorrow so get on it.”

Andrew “What if I have a hot date?” (Chuckles to his buddies)

Teacher “Use your other hand” (turns around to the board)

I SWEAR TO GOD THE ENTIRE CLASS FLIPPED ITS SHIT. No one would expect a teacher to make a masturbation joke in class. So while the entire class was rioting Andrew’s face was beet red. It took the entire period to calm down. People were yelling and screaming like maniacs.

Andrew you just got fucking owned!

Holy shit Andrew you got Roasted!

Someone contact a burn ward!

Damn Andrew!

Mr. Burns you are savage!”

Even the English class next to us came over to find out the fucking riot that was going on. Andrew has never talked back to any teacher ever since. I have a newfound respect for my history teacher.

(Names changed for the purpose of privacy)

Oh my Lord people thank you for one of my most viewed answer yet!-James

What is the best thing you have ever heard a teacher say?

What are some of the most mind-blowing facts about the United Kingdom?

What are some of the most mind-blowing facts about the United Kingdom? by Saran Udayakumar

Answer by Saran Udayakumar:

Inception Village – Bourton-on-the-water in Gloucestershire, England

The village inside a village inside a village inside a village inside a village. It is so beautiful that in 1937, local craftsmen decided to build a 1:9 scale replica of the village inside the village, which looks like this:

The model village has its own model village.

And at the back of this 'model model village' sits a 'model model model village'.

It is a popular tourist attraction, turning toddlers into superheroes.

Bourton Model Village has always been famous for it's miniature bonsai type trees, which are carefully pruned to keep them to scale.

Content & Image Credits :-

The Model Village, Bourton-on-the-Water, a one-ninth scale replica of our village in the Cotwolds, U.K.

The village inside a village inside a village inside a village inside

England has an ‘inception village.’

What are some of the most mind-blowing facts about the United Kingdom?

What advice does Richard Muller have for an international student coming to study college in the United States?

What advice does Richard Muller have for an international student coming to study college in the … by Richard Muller

Answer by Richard Muller:

Make new friends among the Americans. Don’t hang out much with the students who came from your own country.

When my daughter went to Paris for a year as a student, she was determined that she would not hear or speak a word of English while she was there. It was tough, and it meant she had to stay away from other US students. But the results were spectacular. Two years later she applied to graduate school in Paris at l’École Supérieure de Commerce, and the interview was in French. She was told that she sounded like a native Parisian; she was accepted at full scholarship.

Integrate yourself to the US culture, for at least the time you are here.

What advice does Richard Muller have for an international student coming to study college in the United States?


Creativity has been defined as “the ability to make new things or think of new ideas”. However, from experience, we must know that making new things is always an error-strewn, mistake-riddled process most of the time!
It is basically allowing your thoughts to venture and being ready to accept the consequences of your actions whether positive or negative.

Creativity is trying something new always.

It thus is paramount to be well-informed about design if you’re a blogger, a designer, a developer or a business owner. Visual mistakes have the potential to make you appear unprofessional, unattractive and untrustworthy to your audience.

Today I rounded up 15 of my top design mistakes that everyone should be aware of.
Although I’ve committed most of these crimes myself, I have learned from them and hopefully they can help you too…

Top 15 design mistakes to avoid

Mistake #1: Wrong Typography

There are lots of places to download fonts, both free and otherwise but be aware of the potential pitfalls in terms of legalities and usage rights, especially when using a ‘free’ font, which may leave you having to restart your work with a new font. If you’re doing professional work,  paying for professional fonts isn’t such a bad idea.

Oh, and Comic Sans is never ever a good idea. Trust me!

Mistake #2: Too many typefaces

Using too many typefaces in a logo, website, etc. can make a design appear cluttered, non-cohesive, confusing and unprofessional. Play it safe and try to stick to two different fonts (three, maximum) and use the different font weights to differentiate and highlight areas.

Mistake #3: Lack of hierarchy

Hierarchy determines which items you see first in an image. You should pay attention to hierarchy and use it to your advantage by varying the size and weights of their fonts (titles and headers should always be more prominent than body text), using color wisely (pops of color draw attention to text and images that should stand out), and paying attention to shapes (which give a design movement and lead your eyes around the design).

The use of several wildly different fonts, colors, and shapes have the potential to mess with hierarchy, resulting in an image that is visually displeasing and complicated.

Mistake #4: No Contrast

Contrast also helps with hierarchy. A lack of contrast can alter legibility and make an image appear washed out and undefined. A mix of both light and dark colors creates balance.

Mistake #5: Dizzy color pairings

When objects with similar color values are placed near one another, it can sometimes have a dizzying, vibrating effect. Use contrast and be cautious of color pairings, especially when you are layering colors on top of each other.

Mistake #6: Lack of negative space

The negative space around an object is often just as important as the object itself; it provides a cushion and a place for your eye to rest. Avoid cramming objects and text into a design and be aware of the entire composition, not just the main components.

Mistake #7: Centered paragraph text

Large amounts of text should never be center aligned. It alters legibility, making text harder and more frustrating to read.

Mistake #8: Failing to align objects

Haphazardly placing objects on a page without rhyme or reason is never a good idea; it has the potential to make a design seem random and unintentional. Use a grid system and align objects to create order.

Mistake #9: Using too many stock images

Try to avoid always using stock images as a central focus for your work because if you think it’s a good photograph then it’s more than likely others will too. It would be a shame if you produced a beautiful design only to find someone is using the same image in another design, making yours seem less original.

Mistake #10: Not saving files correctly

Print work is generally set up as CMYK and at 300dpi, whereas work for the web should be RGB (resolution will depend on your client’s needs regarding mobile, Retina etc). Remember to consider bleed, trim and safety areas. Before sending to print, think about your file formats, outlining fonts and colour profiles.

Mistake #11: Failing to proof-read

Using the spellchecker is great for finding misspelled words within your work but it won’t catch correctly spelt words in the wrong context. For example, one of the most common mistakes is to confuse “your” and “you’re”, but spellcheck won’t be able to help you with that. This is just one reason why you must always proof read every piece of your work over and over again.

Mistake #12: Not considering context

Whether you’re designing an icon, a logo or any other design element, you always need to make sure it’s transferrable across a range of different mediums. Thus, you have to make sure that the colours, size and overall design will work on printed materials such as posters and T-shirts, as well as across various tech mediums such as PCs, mobile devices and more.

Mistake #13: Not understanding what the client wants

Get as much detail about what the clients wants and needs, as early on as possible
Without a clear idea of what the client wants you can end up making matters complicated for yourself. A lot of time can be wasted procrastinating, or working up design ideas that may not be relevant to the client’s needs.

Mistake #14: Following design trends

Choosing to design based on current trends is likely to leave your design looking dated and out-of-touch as soon as the trend dies out, not to mention making you look slightly amateur. Rather than choose the popular flavour of the month, think about what’s more likely to have longevity for your design.

Mistake #15: Copying other people’s designs

Originality is key as a designer, and plagiarism will not go unnoticed. Gathering influences and inspiration is fine but straight copying other people’s work is not.

Be original!

How do top students study?

Answer by Rob McQueen:

I've been at MIT for the past four years in course 6 (Computer Science), and I'm currently studying for my last final exam (!!!). Here are some things that work for me:

  • Teach it first: To understand new systems / concepts, stand up in front of a chalkboard and act as if you're teaching it to a class. When you get to a point you don't know how to explain, talk it out. Literally, stand up and talk to yourself; it works.
  • Diagram / Symbol: Once you understand something, create a visual diagram / symbol. Draw it on a piece of paper. Close your eyes and think about it in your head. Once you have the diagram / symbol, it will be very easy to remember how it works later on.
  • Believe everything is easy and simple: You might not understand certain systems at first look, but if you approach it with a simple mind, you will do better. You won't think too much about the details and you will better understand the high-level picture.
  • Sleep on it: Read a paper before you go to sleep and think about it as you doze off. When you wake up, it will be at least 50% easier to understand.
  • Make sure you get enough sleep: It makes it incredibly easier to understand new systems when you are thinking clearly. If you're studying and things just aren't making sense, take a nap for 20 minutes. It may be just enough to get the lightbulb in your head to flicker.
  • Discuss it with friends: Discussions help you gain new perspectives on how others think of systems. It might introduce variables you never thought about.

How do top students study?

What would make a better campaign logo for Hillary Clinton?

Answer by Tomiwa Ogunmodede:

I think it's just a little bit flat. Just a tad bit ordinary. But then, I'm not American, so what could I possibly know?!
Here's my take on the logo:

God bless Quora!


Guys! Thanks for the comments and suggestions.

I am taking them into consideration and thus christening the second iteration of my take on the #hillary2016 logo.

The stars and stripes are in full view here.

Criticism, suggestions and comments are appreciated.

What would make a better campaign logo for Hillary Clinton?

What are the best ways to learn logo design in Photoshop?

Answer by Greg Davis:

Costas Papaconstantinou already pointed this out, but I highly recommend that you create your logo in Illustrator, not Photoshop. Unless you are 110% sure that your design will never need to be scaled up (which is highly unlikely), Illustrator is the way to go. That said, if you do decide to create your logo in Photoshop here are the tools I recommend you focus on becoming comfortable with.


I suggest working in Shape mode (A) when using your pen tool. Unless you're comfortable visualizing the positive and negative space within your paths and their color, it's far easier to work in Shape mode. Your paths remain editable and you can work with fills and strokes in a similar manner as Illustrator. But perhaps the single most important tool you'll need to get comfortable with is the Pen tool itself (B). The best way to learn this tool is practice, practice, practice. You should also get used to using the keyboard shortcuts associated with the different tools in the Pen Tool palette and all the other shortcuts that will make editing and manipulating your paths quicker.

While using the Pen Tool (P):

OPTION/ALT – Convert Point Tool: This allows you to make a point into a corner, break your handles so that they affect your path independently of one another, and turn corners and/or independent handles back into smooth handles locked to the same length and direction.

COMMAND(Apple)/CONTROL(Windows) – This will enable you to change your Pen Tool into the Direct Selection Tool (white arrow) without having to switch back and forth between tools. Moving points, changing handles, and changing curves while still remaining in the Pen Tool will enable you to work much quicker.

SHIFT – After closing your path, if you want to start a new path/shape from any of your points or along your path just hold down Shift. If you're not trying to start a new path/shape from a point or along a curve, you don't need Shift; after the path is closed you can just start your next path/shape without doing anything.

(Subtracting and adding points to your path/shape don't require any keyboard shortcuts. Just hovering over a point with your Pen Tool selected will change the Pen tool to the Delete Anchor Point Tool, and likewise just hovering over a path with the Pen Tool selected will change your Pen Tool to the Add Anchor Point Tool.)


Not to be confused with changing your Pen Tool's paths to Shape mode, the Shape Tool (A) gives you some preset shapes to choose from. This will save you the time of having to manually create things like Rectangles, Rounded Rectangles, Ellipses, Polygons, Lines, and Custom Shapes, and you can also use these as your base shape and build your logo or elements out of them. The Custom Shape Tool (B) allows you to create shapes based on various preset images. There are different libraries to chose from (C) and if you want you can create your own custom shapes and custom libraries.

(This isn't really central to logo design, but just in case you want to know how to create those custom shapes)

Select your shape layer in the layer panel and change your tool to the Direct Selection Tool (white arrow). Control click (right click) on your image and choose 'Define Custom Shape' (A). Rename your custom shape whatever you want (B) and it'll be added to the open library.


Depending on how you decide to work and how well you can digitally paint in Photoshop, the Brush Tool (A) can be an important tool to understand. I highly recommend purchasing a pen tablet if you find a need to use the Brush Tool often (I use Wacom). It's possible to use this tool with a mouse or trackpad but it is significantly easier with a pen tablet. Familiarizing yourself with all of the Brush's panel options and settings (B) can take some time but there are a lot of tutorials out there that cover pretty much everything. In my opinion the only reasons to use the Brush Tool in logo design are for sketching and fine or hand drawn details, but then, I'm not that great of a digital painter. I'm not sure I'd ever find myself using the Brush Tool when finalizing a logo but you never know when you might need it to paint in small, complex, or hand drawn details. As far as I'm concerned the most important function of the Brush Tool in logo design is for sketching logo ideas. A lot of people work with pen/pencil and paper for their initial design ideas, but with a pen tablet, Photoshop's Brush Tool, and a little practice, you can achieve the same thing (in my opinion, faster). My advice would be to use Photoshop only for your sketches and then move on to Illustrator for your final design.


Having taught myself Photoshop, I spent years without ever using Clipping Masks. One day I just stumbled into a tutorial that relied heavily on them and my whole Photoshop world changed. Any layer can be used as a Clipping Mask by either Option/Alt clicking the line between the layer you're looking to make a Clipping Mask and the layer underneath it, or by selecting the layer you want to make a Clipping Mask and selecting 'Create Clipping Mask' from the layer panel's drop down (A) in the upper right corner of the panel or by right clicking the layer. In the above example I was looking to paint a soft blue edge on the lower logo element (B). (This is the way it would look before making the layer into a Clipping Mask, but you should make the layer a Clipping Mask before painting)

As you can see that same blue brush area, once it's layer has been made into a Clipping Mask, only appears in the alpha of the layer below it (B). Once made a Clipping Mask the layer will display an arrow pointing down and shift a little to the right in the layer panel (A). There are a lot of uses for Clipping Masks and once you've become comfortable with the concept you'll find it an invaluable tool for more or less everything in Photoshop. The same can be said of Layer Masks.

Any selection can be used to mask out portions of your design with Layer Masks. You can make selections with your Lasso Tools, Marquee Tools, from paths, and by using the alpha of any layer (Command (Apple)/Control (Windows) Click the layer's image icon). Once you have a selection you can click the icon at the bottom of the layer palette (A) to create a Layer Mask on the active layer. This will result in a mask icon next to your layer's image icon in the layer's palette (B). You can unlock and lock the mask (click on the little chain link next to it's icon) so that it moves independently of the layer (unlocked) or with it (locked). When your mask is selected you'll have various options to control it in the Properties panel (C). The important thing to remember about how masks are represented in that little mask icon (B) is that white represents fully transparent and black represents fully opaque. This is important to remember because with the mask icon selected on your layer you can use your brush to hide or reveal parts of your image by painting in either white, black, or anywhere in between.


If you're using Photoshop for your logo design it's important that you work large (i'd recommend at least 300dpi and large enough to cover all possible applications). But the key to designing a successful logo is to create something that works at all sizes. A good way to keep a reference for how your logo will work at smaller sizes, while working large, is by using the Navigator panel (A). The Navigator gives you the ability to see your entire comp in a small window, and if you choose, you can use the Navigator panel to zoom in and pan around your comp. Having a small reference of your logo while working is a good way to ensure that your creation is not becoming illegible at small sizes. Depending on the complexity of your logo you'll sometimes have to make a few different versions so that it remains visually consistent across all sizes. Some people duplicate their comps in order to get a view of it small, but the Navigator seems easier to me.


While I highly recommend using Illustrator if you're working on a logotype, Photoshop's Type Tool (A) can be used as well and everything in the Character panel (B) is similar to Illustrator's. If you need to manipulate a character's design you can convert your type to shapes by right clicking on your type layer in the layer panel and choosing 'Convert to Shape' (this is similar to converting your type to outlines in Illustrator). Once your type is converted to shape you can manipulate it's paths like any other shape with your Pen Tool.


Explaining everything there is to know about color in Photoshop would take a very long time so I'll just explain what everything is. The color Mode you work in (A) depends on what you plan on doing with your logo. In all likelihood you're going to need a bunch of different versions for a number of formats (web, print, broadcast, etc.). Keeping your colors consistent across formats is a question that maybe someone else could answer better than me, so I suggest making it a separate question.

The basic Mode selections are, RGB for web and broadcast, and CMYK for print (B). Depending on the format you're working in you may want to set your Color panel (C) settings up for that format. When working for the web you may want to set your Color panel settings (D) to 'Web Color Sliders', 'RGB Spectrum', and 'Make Ramp Web Safe' (that last one isn't necessary as your color selections will be converted into Web Colors anyway). If you're working for broadcast I'd recommend you change your settings (D) to 'RGB Sliders' and 'RGB Spectrum' (broadcast safe colors could be an entirely different topic so I won't go into that other than to say that you can load an action in the Actions panel (Video Actions – Broadcast Safe) that will convert your colors to broadcast safe colors). For print you'll probably want your setup to be 'CMYK Sliders' and 'CMYK Spectrum' (there is a whole lot to know about print colors but you should ask someone else since I work mainly in broadcast). There is another option though when choosing color in Photoshop and when designing logos it's an important one.


Regardless of how you choose your color in Photoshop, I suggest that your final color palette should  be made into swatches and saved. Swatches are essentially preset colors. You can either select your colors first and make them into swatches or you can create your color palette out of swatches (to make one of the colors you've chosen in your Color panel a swatch just make sure the color is in the front (D), click in an empty space in the Swatch panel (C) and then name it what you want). The top line on the Swatch panel (A) is essentially a swatch history bar; it keeps track of the last 16 swatches you've used and constantly changes to update your history. Beneath that are all of your swatches. By opening up the Swatch panel settings (B) you can choose from a whole bunch of different swatch collections including various Pantone and Web collections (the Swatch panel settings (B) are also how you save your swatches).

(I forgot to mention the basic color setup on the left-hand side of the screen. D and E are your front (D) and back (E) colors and they can be switched back and forth by pressing X, or by using the little arrows next above them. Your front color is the color you're currently working with. F is the black and white preset for your colors. Clicking that will return your front and back colors to black and white, respectively. You can do the same thing by hitting D)

There are of course a lot more things you can use in Photoshop when creating a logo, but these are more or less your basics. As I mentioned above and as anyone else will tell you, you really should be doing all of this in Illustrator. As far as learning how to design logos goes there are a ton of tutorials on the web that will teach you the fundamentals of logo design. Learning the design principles and operating the software are entirely different subjects, but now you have a brief explanation of some of the tools you can use to execute your design with.

Hope this helps.

What are the best ways to learn logo design in Photoshop?