There was a time when laptops had limited computing power because of their cramped spaces, but now we have notebooks strong enough to run games with decent quality. These more powerful laptops, however, are often bulky and too flashy with their RGB lights, making them less ideal for more formal work settings. It sometimes feels like buyers need to make a difficult choice between power and portability as if these two were mutually exclusive. That isn’t true, of course, and the new Acer Swift X16 is designed to go beyond expectations, providing a powerful laptop for creating all kinds of digital content while also looking stylish and elegant in a way that creators would be proud to flaunt.
Designer: Acer
While it’s true that you need plenty of space for powerful components inside a laptop, technology has reached a point where these parts have become significantly smaller and more efficient so that they can fit in slim and light bodies. The Acer Swift X16 SFX16-61G, for example, carries the latest-gen AMD Ryzen 9 7940H processor paired with an NVIDIA GeForce RTX 4050 GPU, delivering enough power not only for gaming but especially for graphics-heavy content creation tools like video rendering, 3D modeling, and the like.
The large 16-inch 3.2K panel makes enjoying and creating content even better with accurate colors, 500 nits of brightness, and a fast 120Hz refresh rate. Extra thin bezels help reduce the laptop’s overall size, leaving plenty of room for just the vibrant display. A 1080p camera also upgrades the video call experience, especially with Temporal Noise reduction and a suite of AI tools for making sure you have clear and crisp videos every time.
Even with all that power, the Acer Swift X16 maintains a slim 17.9mm profile and a portable 1.9kg weight that lets you easily take your work anywhere. An upgraded TwinAir cooling system makes sure that the laptop is running optimally even under heavy load, while discreet air vents hide under the laptop’s aluminum surface.
On the outside, the Acer Swift X16 SFX16-61G carries a character of elegance with its minimalist aesthetic that belies the true power it bears inside. It doesn’t scream “power” yet still commands a presence with its stylish appearance, whether in the office, at home, in a studio, or in a coffee shop. Acer’s newest laptop for digital creatives starts at $1,249.99 and will be available in North America in July.
Multidisciplinary celebrity designer, CEO of Off-White and the artistic director of Louis Vuitton’s menswear collection, Virgil Abloh has passed away at the age of 41 after battling a rare form of cancer.
An architect by training, Abloh’s involvement with international fashion started with an internship at Fendi’s in 2009, alongside Kanye West. Following a year-long collaboration with the rapper, Abloh founded Off-White in 2012, and was also hired as the artistic director for menswear at Louis Vuitton.
In the announcement done via an Instagram post on Virgil’s account, the statement says, “For over two years, Virgil valiantly battled a rare, aggressive form of cancer, cardiac angiosarcoma. He chose to endure his battle privately since his diagnosis in 2019, undergoing numerous challenging treatments, all while helming several significant institutions that span fashion, art, and culture.”
“Through it all, his work ethic, infinite curiosity, and optimism never wavered. Virgil was driven by his dedication to his craft and to his mission to open doors for others and create pathways for greater equality in art and design. He often said, “Everything I do is for the 17-year-old version of myself,” believing deeply in the power of art to inspire future generations.”
Rest In Peace.
Virgil Abloh
September 30, 1980 – November 28, 2021
Braun x Virgil Abloh
Earlier this year, Abloh partnered with Braun to mark 100 years since the founding of the German design giant, by helping redesign the 1965 Wandanlage, a hi-fi audio wall unit as well as the BC02 alarm clock (showcased below).
The product in question is the 1965 Wandanlage, a hi-fi audio wall unit that Abloh sought to update, turning it into ‘functional art’ that reflected Braun’s design values along with Abloh’s eclectic cultural and musical references from the past 100 years. In its 2021 edition, the new Wandanlage sports a beautiful chrome design that unites Braun’s love of the material (as seen in its 1960 SM3 shaver and 1961 T1 toaster) with Abloh’s hat tip to the glitz and the shimmer of chrome accents often associated with hip-hop culture through the later years.
About the collaboration, Virgil Abloh said, “I have always had a deep appreciation for Braun design. For the brand’s 100 years, I jumped at the opportunity to reimagine this iconic Braun product and challenge what we have come to expect from design. The “functional art” piece co-curated with Braun Design not only highlights the original function of the hi-fi wall unit that was the best audio of its time, but also the quality and durable materials that are built to last. As a creator, I continue to question how art is perceived in today’s culture. “Functional art” is a lasting legacy of the enduring power of good design that is simple, useful and built to last. In so doing, it advances the frames of design references beyond design ‘purists’ to broader audiences.” Abloh further described his inspiration and this collaborative journey in the video above, shot at Ludwig Mies van der Rohe’s iconic Farnsworth house.
As someone who knows a bunch of designers, I’ll attest to the fact that it’s mighty hard finding a creative gift for someone who’s entire job revolves around creativity. Buy them something and there’s a sizeable chance that either they already own it or don’t like it. It’s rare to find something they’ve never seen before… something that takes them by surprise and delight, but you’re in a fair bit of luck if you’re reading this and looking for something to gift a designer friend, relative, colleague, or the person you got in the Secret Santa sweepstakes at work.
Retro Patents’ graphical posters literally put design history on your walls. Taking graphical representations and diagrams from actual patent files available at the US Patent and Trademark Office, Retro Patents turns them into posters you can hang on your wall. Their catalog spans a bunch of products and services, but we have our eye on three of the most recognizable products of our time… the original iPhone, iPod, and the Macintosh computer which put Apple on the map. All three posters feature the patent images taken directly from the open-source files, complete with the patent number, application name, and the holder of the patent. The posters are printed using Epson UltraChrome water based HDR ink-jet technology on Ultra Premium Luster Photo Paper for the finest results, before being framed and shipped.
Hi, I am Kelly from Knack, where we help mobility brands make their products irresistible.
I want you to think back to the last time a new pair of shoes caught your eye. Something tells me they weren’t the same pair that were already on your feet. Instead, they might have had a fresh new look. They could’ve had self-tying laces that promised you a tailor-fit. Or, they could’ve been a whole different type of shoe altogether. Maybe they were a waterproof work boot that deemed your old sneakers obsolete.
In today’s noisy markets, products have to first get noticed in order to be desired. They do so by doing something different from their competitors. There are three factors that differentiate and then drive desire for products: purpose, experience, and aesthetic.
Since our job as designers is to create desire to ultimately drive demand for a product, these three factors are our opportunities for impact.
Pain-Relieving Purpose
By solving a meaningful problem that no other product does or solving an existing problem better, a product will naturally attract people who are experiencing that problem. Conversely, if a product doesn’t solve a new problem or offer a better solution, it gets buried in a sea of similar offerings.
At the start of your next design project, ask yourself, “Will this product provide relief to a meaningful problem that no other product does?” If your answer is no, dive deeper into understanding your customer to get to the heart of what they really need.
Delightful Experience
When a product works better and delivers a more seamless experience than any other product, it rises to the top. The ideal scenario would be to have a product deliver a delightful user experience.
Thoroughly walk through the user’s journey and observe real users interacting with the product you’re designing. What hurdles do they face? What issues become apparent as they use your product? Work to resolve every point of friction and then go one step further to incorporate interactions that will delight them.
Enticing Aesthetic
This one is a little more obvious since designers are usually pegged for their contribution to aesthetics. However, how a product looks and feels can play two significant roles. One, it can grab attention. Two, it can resonate with the user.
When establishing the aesthetic of your next product design, make sure that you choose the aesthetic that is both attention-getting AND compelling to the user. Your product’s aesthetic should connect with the user on an emotional level and to do so, you need to understand your user on an emotional level.
Which of these three factors are you focusing your design efforts on? Are you able to contribute to more than just one? An irresistible product requires all three.
ABOUT THE AUTHOR
Kelly Custer is the Founder + Design Director of Knack
Pairing her transportation design education from the College for Creative Studies in Detroit, Michigan with over 8 years of design consulting experience in consumer products, Kelly has built a strong passion for mobility. She founded Knack in 2014 and leads the studio to deliver irresistible simple mobility products.
When she’s not in the studio, she can be found on a mountain bike trail, trying to keep up with her husband on her dirt bike, or exploring the Tennessee river on their vintage stand-up jet skis.
Bringing aspects of design to the very tool you’d use for designing purposes, the Grovemade Task Knife is to cutters and scalpels what Moleskine is to notebooks, or Muji is to stationery. It transforms a humble design tool into a well-designed instrument that every creative worth their salt would absolutely love to own, use, and put on display on their Insta-worthy workspaces.
The Grovemade Task Knife comes with a pristine monolithic design that combines handle and blade into one perfect package. The handle features the Grovemade logo machined onto one end, as it seamlessly transitions into a sheepsfoot blade at the other end, perfect for cutting anything from paper to foam or even leather. Machined from a single metal billet, the Task Knife comes in stainless steel with a matte black ceramic coating, or regular stainless steel and brass variants that showcase the true colors of the respective metals, complete with the CNC machine lines for that extra bit of raw beauty. The knives are available as standalone instruments but are best paired with Grovemade’s distinctive wooden stands that showcase the Task Knife in all its glory, keeping the instrument mounted vertically in a way that’s both gorgeous to look at and also easy to grasp and use, so you’re never rifling through stationery kits or rummaging through cabinets for your tools. Each Task Knife is made to absolute perfection in Grovemade’s headquarters in Portland Oregon with the utmost respect for form, function, detail, and quality… by designers, for designers.
Not just a toy company anymore, Lego has expanded way beyond making plug-together blocks. Aside from their flourishing movie business (Guys go see The Lego Movie 2, it’s amazing), Lego has also worked to create blocks that support entire franchises and even themes like the Technic and Architecture series that demonstrate a ‘serious’ playfulness by not just being about the toy aspect of the Lego block, but also of technicality, aesthetics, and a good bit of engineering. Lego is truly the building block that’s age-agnostic. With the Duplo blocks being perfect for little children, to their more serious collectibles for all ages, Lego is universal, and universally loved. Lego is looking for a Senior Designer to join their Creative Play Lab team in Singapore.
THE OPPORTUNITY
Join the global LEGO family Do you want to bring toy and play concepts to life? Do you have an entrepreneurial and inventor spirit? Work in a small cross-functional team; take on a variety of projects, both short term and long term while linking with the broader group of creative designers/developers across our global network.
RESPONSIBILITIES
Concept Design • Sketch and build new LEGO toys and play experiences from early idea to testable prototype
Prototyping • Bring ideas to life via concept prototypes, mock-ups, and LEGO models. • Emphasis on quick, iterative prototyping, and model development.
Research • Consumer-focused product development – Regular participation in focus groups and ability to interpret findings for the teams and into appealing LEGO toys/experiences for the target consumer. • Excellent knowledge of the Toy market.
Communication • Strong communicator of concept ideas – both verbally and by sketch. • Good ability to pitch/present concepts to colleagues across the organization
Play your part in our team succeeding Creative Play Lab is the Front end concept arm of LEGO Product and Marketing Development. We are focused on the creation of radically new, big, and fun LEGO products/play experiences that delight and inspire the builders of tomorrow.
Creative Play Lab Singapore expands the global presence of LEGO product and marketing development. Our main hub is in Denmark with smaller hubs in Singapore, London and Los Angeles; we work together across these locations developing new LEGO products and play experiences. CPL Singapore will consist of a small cross-functional team with an entrepreneurial and inventive spirit. The focus of CPL Singapore will be in developing concepts derived from insights born out of the Asian markets
REQUIREMENTS
• Bachelor’s degree in fine arts for concept, product, interaction, industrial design, or related field. • Skilled in use of relevant design software – Photoshop, Illustrator, Rhino (or equivalent Software) • 3+ years experience within the toy, invention, product, or entertainment design industry. • Robust portfolio outlining sketching, storytelling, ideation, brainstorming, and conceptual design skills • Proven ability to work in an innovative, and entrepreneurial environment • Minimum travel two times a year to LEGO HQ in Billund Denmark • Potential multi-week onboarding in Denmark within the first few months of employment.
HOW TO APPLY
The LEGO® Group recruits and develops people entirely on merit. If you are confident you have what it takes to succeed in this role – and you share our commitment to creativity, collaboration, and quality – use the CLICK HERE TO APPLY button. *Please remember to include a link to your portfolio in your CV / attach your portfolio in your application.
A heaven-sent for every creative, the Delux Designer was designed for your spare hand. You know, the one that isn’t wielding the Wacom stylus. With 28 absolutely essential keys (including 12 specially programmable hotkeys) and a dial, the Delux Designer is the only keyboard you’ll ever need to work your creative software.
The Delux Designer occupies a third of the space a regular keyboard takes. In fact, it strips down the regular keyboard to its bare essentials, putting all your important shortcuts under your fingertips, shortening the work process since all the keys you need are always directly under your palm. With customizable macro and shortcut keys, and your essentials like the spacebar, enter, ctrl, alt, and shift keys, all within a single hand’s reach, the Delux Designer can be operated by one hand (which means you don’t need to use two hands to hit ctrl+p to print, or ctrl+y to redo), leaving your other hand free to use a sketching tablet, and allowing your workflow to go much faster than usual. The programmable keys allow you to switch between tools, and the Delux Designer even packs a dial that lets you calibrate and control your tool settings. Every key is customizable and is compatible with a wide range of software, making the Delux Desiger suitable for graphic designers, 3D modelers, photographers, video editors, etc. And the Delux Designer doesn’t just shorten your workflow, but betters it too by using mechanical keys for a pure tactile experience, and a backlit layout that lets you work the late hours.
Bang & Olufsen was founded by Peter Bang and Sven Olufsen in 1925, starting with manufacturing radios and growing to become one of the world’s best producers of high-end audio equipment with a design style that’s sculptural, and that puts form on a pedestal, without sacrificing function. B&O has a distinctive design appeal that Wired described as “quality media delivery via striking objects”. The company is looking for a seasoned CMF designer to join their team in Copenhagen, Denmark.
THE OPPORTUNITY
Do you have 3+ years of experience working with color, materials and finish, and would you like to use this experience in the design of Bang & Olufsen’s luxury lifestyle audio products? And are you looking for an opportunity to: – Improve your CMF design skills and apply them to Bang & Olufsen products? – Join one of the best-known luxury brands in the world? – Gain an international network of competent and collaborative colleagues?
Join the Design team As our new CMF designer, you will join the Design team in Lyngby, Denmark, consisting of 6 design managers with different competencies. Together with colleagues based in Lyngby, Struer and Singapore, we participate in cross-functional projects, contributing with our product design expertise. Doing so, we work as one team to share knowledge, run design reviews and provide feedback on a weekly basis. And now, we are looking to expand our CMF team with a designer.
Implement world-class CMF across Bang & Olufsen’s luxury products As our new CMF designer, you will work closely with our CMF manager to implement colour, materials and textures across speakers, headphones and earphones. Working with inline products, special editions as well as fashion and interior collections, you will ensure that our products live up to our CMF strategy.
RESPONSIBILITIES
– Design and visualize versions of existing products by applying color, texture and materials – Create CMF briefs and specifications based on CMF strategies, brand language and manager input – Work closely with manufacturing teams to ensure they understand specifications and deliver quality execution – Engage with external partners such as agencies, suppliers and artists, e.g. international musicians and athletes, for our fashion and – interior collections, ensuring compliance with our CMF strategy – Play a major role in managing our overall color activities across inline products, collections and special editions – You can expect approx. 20 travel days a year to review color samples at supplier factories in China.
REQUIREMENTS
– You have 3+ years of experience from a CMF position within fashion, lifestyle, design or consumer electronics – You can tell a compelling CMF story – You have knowledge of all phases of the CMF design process – from palette development through manufacturing and sample approvals – You are fluent in spoken and written English – You thrive in a fast-paced environment – You master Photoshop and Keyshot, and experience with Grasshopper is a plus – As a person, you have excellent collaboration skills, and you know how to reach results through teamwork. It comes naturally to you to coordinate your own tasks and drive many projects at a time.
ADDITIONAL INFORMATION
For additional information about the position, please contact Head of Design Michael König on +45-42414261. Applications are continuously assessed, so please send your application as soon as possible.
It’s rare to come across someone who’s so intensely passionate about something, it spills over. You wouldn’t expect a 27 (turning 28 in January) year old man to be enraptured by plush toys, but just talking to Marissa Louie for a bit has me emotionally invested in the Animoodles, a series of stuffed toy animals with magnetically detachable limbs and heads that can be swapped to create animal hybrids.
I met Marissa through Designer’s Guild, a forum created by her on Facebook for designers to interact with one another, bounce ideas off each other, collaborate, and critique work as a healthy collective. The group is nearing 15 thousand members with as many as 100 people joining each week, and has stalwarts of the industry all the way from Don Norman to Chris Do. Marissa herself has a world of design experience too… A former Principal Designer at Yahoo and then an Art Director at Apple, Marissa moved onto found Portola Plush and create its first product, the Animoodles. Scroll below to read our conversation with her, where we talk about the Animoodles, her journey, the need for storytelling in design, the joy of kickstarting your designs, entrepreneurship advice for designers, and the much needed increase of women in designer and executive roles.
Yanko Design:Hey Marissa! Let’s begin by getting to know you a bit! Tell us a bit about you, your interests, where you’re from…
Marissa Louie: I was born in San Francisco, California with a gray teddy bear named Wuggie by my side. I collected hundreds of stuffed animals when I was a kid, and paid close attention to all of their details and features. I also created stories starring stuffed animals with my family on a daily basis. Stuffed animals were my first introduction to design and storytelling. Eventually, I became an art director, interaction designer, and product designer.
YD:Talk us through your professional journey!
ML: I’m a self-taught designer: I didn’t go to design school, but learned on my own. I started out in interaction and product design at various tech startups and companies including Ness, Apple, and Yahoo. I also founded a few tech startups of my own. Through these varied experiences, I developed a broad skillset that has design as a foundation, but also includes marketing, PR, and sales. This came in handy when I decided to create Animoodles.
YD:How did you plan your career in design? Was there a consistent impulse to be a part of the creative industry?
ML: I’ve always paid attention the aesthetics and details. When I was growing up, I always gravitated towards drawing, and arts and crafts. Then I developed an interest in fashion design and photography. I’ve always had a creative impulse, but didn’t know that I would take it seriously until after I graduated from college.
YD:What was working at Yahoo and then Apple like? Was there a definitive moment that triggered the switch to designing the Animoodles?
ML: At Yahoo, I developed the ability to design for the scale of a billion users, as a Principal Designer for Yahoo.com and Yahoo Search. At Apple, I developed the ability to design simple and elegant solutions to problems as an Art Director. Though working in corporate was comfortable, I found myself wondering whether I could make a bigger impact outside of digital design. I woke up one day while holding the gray teddy bear I was born with, and I knew the answer: my true passion since childhood was for stuffed animals. I thought, “What if I applied the design thinking I developed while designing apps and websites to designing stuffed animals?”
YD:Did that switch feel like a paradigm shift of sorts? How did your design education and work experience prepare you for your new role?
ML: It was definitely a paradigm shift. I had to learn a lot in order to be able to create Animoodles, but my design foundation prepared me for what I needed to learn. I approach designing stuffed animals from the perspective of design fundamentals: the first requirement is designing stuffed animals that people want, so I sketched over 50 ideas, and prototyped some of them. Instead of designing pixels, I learned how to sew from professionals. Then I applied my previous experience in conducting user testing for apps and websites to playtest stuffed animal prototypes with kids. Once I felt like I was nearing a product that people loved, I developed the Animoodles brand over the course of 3 months, resulting in a brand book of over 300 pages. I also knew that designing Animoodles would require character design and illustration skills, so I took several courses in these areas so that I could work better with my future team. Once I started working with artists who formerly worked at Disney and Pixar, I continued to learn from them.
YD:Where did the idea for the Animoodles (and their interchangeable limbs) come from?! How did the idea evolve from the initial spark to the final product?
ML: I started out asking myself what unique or appealing stuffed animals could be created. I sketched many ideas and noticed that a lot of my ideas had hybrid animals. At dinner with my husband, I envisioned stuffed animal limbs detaching and switching around with each other, as if they were dancing. I immediately knew it might be the seed of a good idea. Next, I considered different materials and methods to use in order to detach the limbs, such as Velcro; nothing seemed as simple as magnets. I made rough prototypes of stuffed animals with magnetic limbs, and tested them with kids. Initially, the response wasn’t as positive as I thought it could be. So I worked with Dan Holland to do proper character design, and a stuffed animal prototyper to turn the character design into plush form. I tested prototypes with magnet joints as well as Velcro joints with over 50 kids across the US. The magnet jointed stuffed animals that had cute character design were the clear winner. So I made tweaks to the magnet jointed stuffed animals based on feedback from kids, and the end product became Animoodles.
YD:I believe that the Animoodles are a great case for storytelling through design (especially given your story-focused target audience)… How important do you think it is to connect to an audience emotionally?
ML: With every Animoodle, we develop both the character design and the character personality. We think about the role the character plays in the Animoodles world. We ask who the character is, what their dreams and motivations are, what things they aren’t good at. We follow a rigorous story development and character design process, because it is so important to connect emotionally with customers. It is so important for designers to understand what their audiences want. People want stuffed animals to be cute, so we dived deeper into what makes characters cute: the shapes and the personalities that are appealing yet unique. We make our characters have human-like qualities so that people can relate to their stories. Ultimately, we want people to fall in love with our characters so that they are emotionally invested in the stories and world we create. If we didn’t prioritize storytelling, I truly believe that Animoodles would not be as appealing.
YD:Talk us through the development of the Animoodles plush dolls. What were the constraints, concerns, challenges, while building prototypes and then going into mass production?
ML: The key difference between Animoodles and other stuffed animals is their magnetic joints. It was very important for us to get the magnetic joints right. The magnets had to have the right strength, had to be enclosed safely inside each plush part, and had to be durable enough to last for years. We developed the magnet housing to not only be strong and secure, but also to be easy to manufacture. Everything represented in our prototypes has to be translated into manufacturing: we need to scale the materials and manufacturing methods for every aspect of Animoodles. Making products for mass production requires that we make tradeoffs, since the exact materials used in our prototypes may not be available in large quantities. I stay in close communication with our manufacturing team to choose final colors and materials, to ensure our customers get well-designed products that stay true to our original vision for each character.
YD:I imagine the entire experience had a lot to offer in terms of professional growth. Anything you absolutely wish you knew back in design school? Any out-of-design skills you picked up?
ML: Some skills I wish I knew in design school are how to design products that can command a healthy price margin, and how to interpret design and market trends as new products. The key non-design skills I’ve developed while working on Animoodles include manufacturing and time management. I’m a very hands-on CEO, so I like to be competent in every key area that is required to bring Animoodles to market and to help it succeed.
YD:Designers aren’t traditionally taught to be entrepreneurs. There’s a lot of creative decision-making in what we do, but we seldom see Designers transition into Entrepreneurs. What advice do you have for designers who are looking to set up their own practices?
ML: Entrepreneurship is something you have to be very serious about, if you want to be good at it. It requires a very different skill set than design. I advise physical product designers who are interested in running their own businesses to learn about a diverse set of skills that includes leadership, marketing and PR, sales, finance, and manufacturing. It took me many years to develop competency in these skills, but I am able to confidently lead all aspects of my company because of my early investment in broadening my skill set beyond design.
YD:A lot of student/personal design projects never make it past the concept stage. What advice would you want to give to designers to help them bring their concepts to life?
ML: Producing physical products can be incredibly difficult for anyone who doesn’t have prior knowledge. A few pieces of advice: Test your prototypes with your target end users, and refine your product based on their feedback. Develop manufacturing and sales contacts that are specific to your product. These relationships can take years to build, so plan ahead and do it before you need them. Ask retailers and distributors what price they would pay for your product, and what price they would sell it to customers at. Make sure you can manufacture at the desired wholesale price before going into production.
YD:I remember you made a very important observation a while ago, about how every CEOs of the top 20 toy companies were men. I believe there’s a large deficit of women designers in our industry too… What has your experience been like? What are your thougths?
ML: It’s just not right that the CEOs of the top toy companies are ALL men. Even if the individuals are well-intentioned people who promote women to leadership ranks, the men are still at the very top. It sends the wrong signal to everyone in their companies and in the toy industry. It’s about time that this gets shaken up. Young girls need examples at the very top to look up to. And it doesn’t make sense for the CEOs of the top toy companies to be all men, despite the customers who purchase toys being primarily women and mothers. I hope that the next generation of top toy industry leaders will be diverse.
YD:You’ve just launched the second iteration of the Animoodles, with a new series of animal plushes. How did you build on the original series? Did you do anything differently this time?
ML: The Animoodles storyline continues on from the previous collection, where the characters of Animoodles Collection 1: Wild Jungle arrive at Storytale Forest, where every Animoodle has a different storytelling ability including singing, acting, directing, crafting, painting, and story writing. Animoodles Collection 2: Storytale Forest is comprised of 6 brand new Animoodles characters that are compatible with all Animoodles. We developed this collection because our fans requested it. And they specifically requested the characters included in it! These new characters aren’t just cute, but their fur is even softer than before. We have also developed the magnet joints further so that their magnetic strength is higher than before. Lastly, Animoodles Collection 2: Storytale Forest is available to back on Kickstarter now, and we will be shipping orders in the US before Christmas. It took us around 6 months to develop and launch Animoodles Collection 2.
YD:This interview is far from over! Where can readers with questions reach you? Or do you plan to become a recluse in the Storytale Forest!
YD:We also look forward to your editorials on YD where you give us pointers on how to transform a design concept into a retail-worthy product that brings in money! Hope you drop a lot of tips and truth-bombs!
ML: I look forward to it, too! I welcome any suggestions for topics to cover.
On June 5, 2018, during an event in New York, Marc Jacobs announced the launch of their new touchscreen smartwatch. Marc Jacobs is a well-known brand and their other products include clothing,...
