Author Archives: Sarang Sheth

Forget bulky multitools, this titanium Apple Watch bracelet hides 24 EDC tools on your wrist

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Your wrist might be the most underutilized piece of real estate you own. Most smartwatches promise everything at your fingertips, tracking steps and heart rate while delivering notifications in real time. But what happens when you need to fix something physical, tighten an actual screw, or open a stubborn bottle? That digital magic suddenly feels pretty limited. Remember that bonkers Smartlet concept from CES that tried cramming an Apple Watch AND a Rolex on your wrist? Weird execution, brilliant insight. The watch strap has serious potential as a wrist-borne utility belt, and Woods Design seems to have cracked the code with something actually wearable.

The TiLink is a 24-in-1 titanium bracelet that doubles as a watch strap, creating this interesting yin-yang of capabilities. Compatibility spans across all watches with lug widths between 18-26mm, which means the TiLink can attach to the Apple Watch as well as Garmin, Samsung, Google Pixel, and analog watches. One side tracks your biometrics and messages, the other has screwdrivers, wrenches, a magnifier, and a fire starter machined from aerospace-grade titanium. Full transparency: you’re probably not getting through airport security without some explaining, and this definitely isn’t for minimalists. But for EDC enthusiasts who love flaunting their gear, or anyone who believes in being prepared for whatever life throws at them, this bracelet does something clever. Instead of just holding your device, the strap itself becomes the utility belt, merging analog preparedness with digital functionality in one surprisingly balanced package.

Designer: Russell Wu (Woods Design)

Click Here to Buy Now: $179 $259 (31% off) Hurry! Only 15 left of 300. Raised over $139,000.

Woods Design chose GR5 titanium, the aerospace-grade stuff that shows up in aircraft components and surgical implants. The entire bracelet weighs just 138.8 grams despite packing 24 tools across 230.5mm of length. That’s lighter than most steel watches while being significantly stronger and completely corrosion-resistant. Every link gets CNC-machined for precision, which means tight tolerances and smooth articulation that stays consistent over time. The 35mm width sounds chunky on paper but makes sense once you see how the tools integrate into each module. Your Apple Watch will become obsolete e-waste in five years while this thing keeps working indefinitely.

Three flathead screwdriver sizes (SL3, SL4, SL5) integrate directly into the bracelet structure, covering everything from eyeglass screws to home appliance panels. Hex bit holders accept both 4mm precision bits and 6.35mm standard bits, giving you genuine versatility instead of that fake multi-tool marketing where one size supposedly handles everything. The 4mm bit extension bar reaches recessed screws in tight positions without needing adapters or workarounds. You can swap bits on the fly, choosing configurations based on what you actually need that day. Eyeglass adjustments, toy repairs, electronics tinkering, small hardware fixes, all the annoying little tasks that require tools you never have handy.

An adjustable wrench covers M4 to M8 nuts and bolts, replacing an entire wrench set with one modular link. Traditional hex wrenches deliver solid torque but disappear into drawers and take up pocket space. Mini versions fit on keychains but lack leverage and get lost in couch cushions within days. This integration gives you proper wrench functionality without the carry hassle. The spoke wrench includes three sizes (3.6mm, 3.9mm, 4.4mm) for common spoke nipples, which tells me they actually consulted cyclists during design. Roadside wheel truing without carrying a separate tool bag changes the calculation for anyone who rides regularly and has dealt with wonky spokes mid-ride.

A built-in magnifier handles small text, component inspection, or marking verification without pulling out your phone and fumbling with zoom controls. The eternal pen requires zero refills, won’t leak ink all over your stuff, and stays permanently attached so it can’t vanish. I’m honestly uncertain how often I’d write with a bracelet pen, but jotting quick notes or reminders beats typing on a phone screen when your hands are already busy. The double-hole survival whistle produces louder, sharper sound than standard single-hole designs, making it effective for emergencies, signaling in crowds, or outdoor scenarios. Being permanently integrated means you can’t lose it, unlike those keychain whistles that fall off within a week.

Fire starting capability feels niche for urban carry but makes perfect sense for actual preparedness. The striker produces sparks without fuel or batteries, and a rubber o-ring seals the compartment against moisture. For camping, hiking, emergency kits, or survival situations, having a fire starter that physically cannot run out of fuel beats carrying lighters or matches. For everyday city life, you’ll probably never use it. Here’s where the modular design earns its keep: remove the links you don’t need, keep what you actually use. The bracelet adapts to your reality instead of forcing you to carry someone else’s idea of essential tools.

A nail file smooths rough edges or tidies nails when needed. Wire gauge holes measure five common sizes (3.5mm, 3mm, 2.5mm, 2mm, 1.5mm) accurately without needing dedicated calipers. The bottle opener works exactly as expected, which sounds mundane until you need one and realize your entire keychain, wallet, and pockets contain zero bottle-opening capability. These small inclusions prevent those specific frustrating moments where you’re almost prepared but missing one crucial thing. They fill the gaps between major tools without adding bulk or complexity.

Two optional modules extend the system further. A liquid compass uses premium white mineral oil for smooth operation and minimal temperature sensitivity, staying functional across a wide range of conditions. Sliding it off the bracelet and placing it on the ground eliminates magnetic interference from other tools, giving you accurate readings. When GPS satellites become unreliable or your phone battery dies at the worst possible moment, having mechanical directional finding matters. Tritium tube slots (1.5mm x 6mm) accept glow inserts that work continuously for 25 years without batteries, charging, or external light exposure. That’s legitimate low-light visibility plus understated aesthetic appeal for people who appreciate functional details.

Apple Watch connectors transform the entire premise. Any Apple Watch model attaches and locks securely into place without extra tools or complicated procedures. This creates a genuine hybrid: your watch handles notifications, fitness tracking, payments, and connectivity while your band contains physical tools for fixing actual things. Digital and analog utility coexist on the same wrist, each handling what it does best. When you need to check your heart rate and tighten a loose screw within the same five minutes, having both capabilities right there makes a surprising amount of sense. That being said, the Watch integration isn’t mandatory – you can still wear the TiLink as a regular bracelet too, keeping your smartwatch unencumbered by these massive new responsibilities.

Each link connects and disconnects cleanly for tool-free size adjustment. Add links for a looser fit, remove them for tighter wear, customize tool selection while you’re at it. The precision machining ensures every link articulates smoothly and maintains consistent tolerances, which matters for something rubbing against your wrist all day. You’re essentially building a custom toolkit that also happens to be a watch band, selecting exactly the modules you’ll actually use instead of carrying a pre-configured set that includes stuff you’ll never touch.

As with every EDC, this watch strap has a time and place, and I’m not entirely sure if wearing this universally would work (the same way carrying a Swiss Army Knife everywhere is a tad risky). For example, airport security will absolutely flag this. TSA agents see a metal bracelet with integrated tools and fire-starting capability, they’re pulling you aside for additional screening. Office environments, malls, and public transit systems might consider it too tactical depending on where you live. But for EDC enthusiasts, makers, cyclists, outdoor types, or anyone who regularly encounters small problems requiring tools, wrist-mounted organization beats pocket clutter or carrying bags just for gear. Woods Design built something that respects both form and function, achieving a balance that’s surprisingly rare in products that usually sacrifice one for the other.

Pricing starts at $179 for early backers, hitting $199 at standard retail for the titanium version. Quality titanium watch bands that do nothing except hold your watch regularly cost $150 to $300, so you’re paying a comparable rate for the band itself while getting 24 integrated tools as a bonus. An aluminum version exists at $89 for people who want the functionality without premium material costs. Individual modules run $19 each if you prefer building your configuration gradually or testing the concept before committing to a full bracelet. Single modules come with paracord so you can wear them immediately as standalone pieces.

Click Here to Buy Now: $179 $259 (31% off) Hurry! Only 15 left of 300. Raised over $139,000.

The post Forget bulky multitools, this titanium Apple Watch bracelet hides 24 EDC tools on your wrist first appeared on Yanko Design.

PlayStation XR Glasses Concept Makes a Strong Case for Gaming-Focused AR Wearables

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Meta talks about XR glasses as companions for your social life. Snap a photo, answer a call, ask an AI what you are looking at. The PlayStation XR Glasses concept spins that idea toward a different center of gravity. Here, the glasses are not about broadcasting your world. They are about pulling the PlayStation universe closer, shrinking the distance between you, your console, and the screen that usually sits across the room.

Here, XR is not a spectacle. It is a subtle layer that folds into your existing PlayStation life. Imagine a virtual screen hovering above your TV stand, system notifications floating at the edge of your vision, a familiar PS logo resting by your temple like the Start button you have pressed a thousand times. The fantasy is not about replacing your PS5, but about letting its world follow you from couch to desk to bed, quietly, through something that looks like ordinary eyewear.

Designer: Shirish Kumar

The frames carry the same visual language as the PS5 and DualSense controller, all smooth curves and deliberate angles that look cohesive sitting next to your console. That blue accent lighting running along the temples is pure PlayStation branding, the kind of detail that works because it feels earned rather than slapped on. The folding hinge reveals those iconic button symbols when you open the arms, which is a nice touch that reinforces you are holding a gaming device that happens to look like eyewear. Whether Sony’s actual industrial design team would ever build something this sleek is another question entirely, but as a design exercise, it holds together.

There is a front-facing camera tucked under the lenses for object tracking and AR overlays, auto-adjusting lenses that darken outdoors and clear indoors, embedded sensors for a heads-up display, gesture controls for navigation. The PS logo on the temple supposedly works like a button, tap for Start and hold for Home, mirroring your muscle memory from the controller. All of that sounds good on paper. The real question is what you actually do with these once they are on your face. Existing PlayStation games would almost certainly run as a virtual screen floating in your field of view, basically a private monitor you wear instead of stare at. True AR gameplay where Aloy from Horizon is dodging around your coffee table requires games built specifically for that, and Kumar does not show or describe any of those experiences.

What this concept does well is stake out a different philosophy for XR glasses. Where Meta wants social connectivity and Apple is aiming for spatial computing as a productivity play, this imagines gaming-first hardware that extends an existing ecosystem rather than trying to create a new one. Whether that is enough to justify another screen in your life is the question every XR device has to answer eventually. For now, it is a polished look at what Sony could build if they decided lightweight AR glasses were the next logical step after VR headsets and portable screens.

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“Stop Treating Designers as Tools”: Ayush Singh on Ownership, Burnout and Speaking Up in Indian Brands

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Yanko Design’s weekly podcast, Design Mindset, continues to bring raw, unfiltered conversations about what it really means to work in design today. Episode 18, Powered by KeyShot, tackles a topic many Indian designers experience but rarely discuss openly: the uncomfortable gap between what brands promise about design investment and what actually happens behind closed doors. Each week, the podcast peels back the layers of design practice, exploring not just the creative work but the professional realities that shape it.

This week’s guest, Ayush Singh Patel, brings a perspective shaped by years at the intersection of ambition and reality. Currently Associate Director of Industrial Design at Noise, where he leads audio and accessories categories, Ayush previously spent time at boAt Lifestyle, leading five sub-brands and contributing to the design of everything from wireless headphones to smartwatches to grooming products. His experience spans the full product lifecycle, from concept to launch, but more importantly, he’s navigated the complex dynamics of being an in-house designer in India’s explosive consumer tech ecosystem. What unfolds in this conversation is a candid examination of derivative design, creative ownership, and what it takes to push for genuine innovation when the system is built for speed and cost efficiency.

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From “Glorified Localization” to Building Design Credibility

The conversation opens with a striking admission from Ayush: “I joined brands that proudly call themselves design driven, expecting to lead innovation. Instead, I found myself in meetings where the brief was literally make it look like this western brand, but make it cheaper. That’s not design leadership, that’s glorified localization. The real question isn’t whether Indian brands invest in design. It’s whether they invest in their own design vision or just outsource the thinking and ask internal teams to clean up the execution.”

Ayush’s own hiring story reveals how this dynamic begins. He wasn’t selected for his industrial design expertise or technical knowledge. “All they liked was the kind of portfolio work that I put out on Instagram and Behance, and they liked those pretty images. So there was no technicality in my interviews. They just wanted that sort of outcome for their products.” It took nearly a year and a half to convince stakeholders of what he could actually contribute beyond aesthetics. His first real opportunity came through rendering. In 2018-2019, e-commerce was entirely image-based, and conceptual renders performed exceptionally well. “Anything that was sold online on platforms like Amazon or Flipkart was truly image-based, right? Everything was about how glorified of a concept you can showcase.” The results were immediate: sales increased because customers were convinced to buy what they perceived in those images, not the reality of the products. This success created the opening for deeper design involvement.

The Strategic Path from CMF to Original R&D

Once sales growth validated design’s commercial impact, Ayush introduced CMF (Color, Material, Finish) as the next frontier. “I came and said there’s a thing called CMF design. So you can start with something as small as color. You don’t have to pay a lot of money, you can talk to the Chinese manufacturers, you can add those colors. And then obviously, it will change the game completely, because now people will have more options to buy from.” The Indian market’s aesthetic inexperience became an advantage. Consumers were looking for cheap technology that looked different, and without established reference points for good or bad aesthetics, bold CMF choices stood out on crowded e-commerce platforms.

The impact was substantial. “Through colors, we crossed over that thing where design can be weighed down, not in terms of aesthetics, but colors. And that’s what made the company grow from almost 90 crore revenue to 200-300 crore revenue.” The next step involved tweaking aesthetics of Chinese-sourced products with small mold modifications. “The reception from the customers was bonkers. It did not lead to as much sales because obviously it drove the costs a little high. But the way people understood that there’s something beyond buying a product from China and launching it, they saw in and out development, right? Someone cared about every bit of visuals that went out. There were specific colorways, people were somehow glorifying luxuriousness.” This gradual proof of concept finally convinced leadership to commit resources. From 2022 onwards, the company began developing its own products, marking a shift from localization to original design.

“Think Inside the Box”: Design Process for Fast-Paced Markets

Ayush’s philosophy directly contradicts traditional design education. “I’ll say something controversial here. Since design school, you’re somehow pushed to think outside the box, which is obviously a place where you can actually drive some sort of innovation. But if you work in a company that’s going for mass production, catering to large audiences at a fast pace, these consumers are not normal consumers. They’re not faithful to you. There are so many brands in the same market, so you have to innovate as fast as possible. And obviously, if you understand the market, innovation comes with time.” The solution challenges design orthodoxy: “The shortest way for you to reach innovation is change the outer aesthetics. If you think outside the box, you incur a lot of R&D costs. That will go through numerous approvals, numerous discussions back and forth from your manufacturing units. And that’s basically a lead time of one and a half to two years. In that time, there’ll be five to ten competitors who will come and go.”

The practical framework becomes clear: “We realized it’s a place where we need to set up our process in which we think inside the box, because an earphone or a speaker will look like an earphone or speaker. That’s the example I give to any person I ever hired. If you’re trying to design a car, it will look like a car. You cannot make it look like a plane.” The design process itself had to be restructured to bypass sketching and go straight to 3D. “There’s no point for us to sit down and make a sketch and me going to a founder who has nothing to do with the design process, who doesn’t care about why it takes you so much time. He only cares about: have you made something for me that I can produce.” Perhaps most revealing is Ayush’s assessment of what the job actually entails: “Design is the easy job. Design is literally five percent of what I actually do. Ninety-five percent is, irrespective of whether it’s a design by me or my team, I have to go and meet so many people from different teams who don’t care about what it took you to make this design. And just go there and be open-ended to receiving any kind of feedback and just sell that design. Being a great designer doesn’t mean you can design something, it’s how well you can sell it to other people.”

The Copy-Paste Reality and Cultivating Real Creativity

The copy-paste culture creates fundamental challenges for original work. “When there’s no good design, there’s no bad design, then there’s only the design that is known. So what you see is what you can weigh. Any person who’s beyond design will never be able to appreciate that as something new. And for a company that’s super price-critical, for a company that wants to innovate every six months, they’ll only want a bet that’s tried and tested.” When given explicit instructions to copy, Ayush developed a strategy of creative resistance: “I’ll be put in a position by a certain CXO or member I’m reporting to, basically laid out saying copy this. And I would come up being smart enough, trying to make a window, and I’d say okay, I’ll copy this, but I’ll give you my understanding of what it should look like. And then I would be basically thrashed, and they would say no, I told you to copy this. So I would end up going as close as it is to the inspiration, but I was still trying to stay away from it. The winning situation for me is how well can I sell that this looks like that, but it’s not the same, but this will work for you.”

The impact on designers working in these environments is profound. “We’re basically finishing up all the resources left for aesthetics, because there’s no innovation to back it up, right? So there will be a time where I’ll end up using all the innovations in terms of CMF at that given price tag. And the next people who take my position will not have anything left to innovate on. The people who I hire as interns or full-timers will come and explore the same thing that we did three years back. You’re following the same pathway that I did ten years back or five years back. So you’re bound to make the same mistakes to reach there.” His advice to his team reflects the only path he’s found to sustained growth: “The only way you can cultivate creativity is by doing something beyond what you’re getting paid for. I would just ask these people working with me to spend more time outside. The real work for a designer begins after the nine to five. Once you go back home, the kind of people you interact with, the kind of platforms you sit on, maybe Yanko Design, maybe Behance, any platforms that can somehow make you ask a question. People used to ask me, how are you able to execute things so fast? I optimized my working by making so many mistakes in my personal projects that I can go to my office next morning and do the same thing in half an hour.”

Speaking Up: From Skill to Creator

For Ayush, the path to changing the industry starts with designers finding their voice. “I think for designers to speak up. In a room, I’ve been the biggest introvert my entire life. But I realized if I don’t speak up, no one will care about design. And it’s on the place of basically shouting design, not just talking about it. Being in a place where you can speak up, and just taking that narrative, just start with being the face of design in the company. Maybe you’re in a junior role or a senior role, start sharing opinions. Even the people working within my team at the moment are very shy in terms of sharing opinions to a founder or to a person from a different team. They’ll slide in my DMs and say, this is what I feel. And I say you should be open about it. If you don’t share it, they will never respect your opinions.”

The fundamental shift needed is in how designers are perceived. “At the moment, designers are seen as skills rather than creators. That’s the one narrative that I’m completely against and I try to push off. People should start seeing you as creators, because if they believe you’re a skill, then they’ll always try to guide you to do a certain thing, maybe copying designs or just following exactly what they’re asking you to do. In that process, you’ll burn out faster than anything because you’re trying to follow someone else’s vision of something. You’re just becoming a tool in between. Better than being a tool, you become a creator when you start speaking out and defending everything you’ve learned.” When challenged to prove an in-house team could outperform an expensive European consultancy, Ayush’s answer centers on empathy and collaboration: “An in-house team can always win through a solution which I call just talking to people. Any person who’s somehow involved in the process, if you truly talk to them and empathize and learn their side of work in the process, then you can create a solution that’s not only good-looking but also satisfying their needs.” His mentoring philosophy distills to a single essential quality: “The cheat sheet is, how much do you love it? That’s the biggest cheat sheet. If you’re not in love with it in India, you will not sustain. And a love beyond boundaries, a love that cannot be sacrificed, a love that you never turn away from.”

The conversation reveals an uncomfortable truth about design investment in India’s fast-growing consumer tech sector. The issue isn’t whether companies use the word “design” in their marketing or mission statements. The question is whether they empower internal teams to think or simply execute, whether they’re building design capabilities or just design departments. Ayush’s journey from rendering specialist to R&D leader demonstrates that change is possible, but it requires designers to be strategists, salespeople, and advocates as much as creatives. It demands proving commercial value repeatedly, speaking up even when it’s uncomfortable, and cultivating skills outside of work hours that will never appear in any job description.

For designers navigating similar environments, Ayush’s experience offers both validation and a roadmap. The constraints are real, the frustrations legitimate, but within those limitations, there’s still room to push boundaries, build trust, and gradually shift the conversation from “make it cheaper” to “make it ours.” You can connect with Ayush on LinkedIn or book a mentoring session with him on ADPList, where he’s been recognized as one of the top ten mentors multiple times.

Design Mindset premieres every week, bringing honest conversations about what it really takes to build a design career in today’s industry. Episode 18 is Powered by KeyShot, the 3D rendering and visualization software helping in-house design teams compete with the visual quality of global agencies.

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The post “Stop Treating Designers as Tools”: Ayush Singh on Ownership, Burnout and Speaking Up in Indian Brands first appeared on Yanko Design.

World’s First 5-Ton 10-Seater eVTOL Takes Flight In China

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The air taxi revolution has so far been imagined in miniature. Companies across Europe and the United States have poured billions into developing sleek, four to six seat electric aircraft designed to hop across congested cities. These nimble vehicles promise a new era of urban mobility, whisking passengers over traffic jams on short, efficient flights. The prevailing industry wisdom has been to start small, prove the technology, and then gradually scale up. This cautious, incremental approach has defined the first chapter of the eVTOL story, creating a landscape of compact, lightweight designs.

Then, Fengfei Aviation Technology decided to skip a few chapters. With the successful transition flight of its V5000 Sky Dragon, the company has introduced a heavyweight contender into a field of lightweights. This five ton aircraft is less of an air taxi and more of a sky bus, built to carry ten passengers or significant cargo loads. By achieving stable flight in a machine of this scale, Fengfei has fundamentally challenged the industry’s step by step consensus. The V5000 suggests that the future of electric aviation might arrive sooner, and in a much larger package, than anyone was expecting.

Designer: Fengfei Aviation Technology

The design is dominated by stacked booms and a multitude of rotors, an architecture that prioritizes aerodynamics and redundancy over conventional aesthetics. This form-follows-function approach gives the airframe an honest, engineered quality. It avoids any attempt at flying car nostalgia, presenting itself as a purpose-built system for vertical lift and efficient forward flight. The fuselage is a smooth, automotive-like pod, but the wings tell the real story. Multiple rotor booms create layers that resemble a giant quadcopter stretched over a commuter plane frame. It looks precisely like what it is: a new class of aerial vehicle that doesn’t pretend to be anything else.

As a five ton class eVTOL, its ability to carry ten people or an equivalent cargo payload places it far beyond typical prototypes currently flying. The pure electric version has a stated range of 250 kilometers, sufficient for many inter-city routes. A hybrid variant extends that operational radius to 1,500 kilometers, enabling regional logistics and transport missions that were previously theoretical for electric aircraft. This leap in capacity and range fundamentally alters the economic models and potential use cases for operators. Suddenly routes that required traditional turboprop aircraft or simply didn’t exist become viable with vertical takeoff capability.

The V5000 executed a complete transition at the Kunshan test base, shifting from vertical takeoff to fixed-wing cruise and back to a vertical landing. For a five ton airframe, this proves the maturity of its flight control software, which must manage up to 20 lift motors and forward propulsion systems simultaneously. The stability required to navigate this transition phase cleanly is a core challenge in eVTOL development. Smaller prototypes have demonstrated wobbly, uncertain transitions. Achieving it at this scale, with this much mass and complexity, represents a substantial systems integration accomplishment. Any control hiccup in that flight regime becomes dramatically more consequential as weight increases.

The distributed electric propulsion, with its numerous motors spread across compound wings, means a single motor failure is a manageable event, not a catastrophic one. This design philosophy trades the mechanical complexity of traditional aircraft for the electronic complexity of advanced power management and flight control algorithms. The V5000 operates less like a conventional airframe and more like a distributed computer with wings, a direction indicative of modern EV platform design. Instead of gearboxes and mechanical shaft redundancy, you get software managing power distribution across independent electric motors in real time. The approach mirrors how automotive platforms evolved, leaning into electronics rather than adding mechanical safeguards.

Western competitors have largely treated the three ton plus category as a future goal, to be addressed after smaller air taxis gain regulatory approval and market acceptance. Joby, Lilium, and Archer are all focused on lighter machines designed for short urban hops. Nobody in that group has attempted a five ton airframe yet. Fengfei’s flight effectively bypasses that incremental roadmap, establishing a credible presence in the heavyweight class right now. It forces a strategic reconsideration for other players, proving that the technology for larger, more practical eVTOLs is viable today. The psychological shift matters as much as the technical one, reframing expectations about how quickly the sector can move toward serious payloads.

More transition flights will follow, along with envelope expansion testing and the inevitable slog through certification, particularly for its multi-motor and hybrid systems. The key development will be observing its initial commercial applications. Cargo operators, who can tolerate tighter operational constraints and don’t need passenger certifications, may adopt the platform first. Regional passenger services would follow, potentially redefining connectivity between cities and offering a direct alternative to ground-based infrastructure. The V5000 has shifted the eVTOL narrative from urban mobility experiments to the creation of genuine regional air networks, the kind that can move meaningful numbers of people and goods across distances that matter.

The post World’s First 5-Ton 10-Seater eVTOL Takes Flight In China first appeared on Yanko Design.

LEGO Shrek’s Swamp Build Captures What the Official Set Missed Entirely

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Layers. Ogres have them, onions have them, and now this remarkable LEGO Shrek build has approximately 1,300 of them stacked into one of the most charming character tributes currently seeking support on LEGO Ideas. While collectors can already buy Shrek minifigures, this project offers something entirely different: a fully brick-built display model that brings sculptural ambition to Far Far Away’s most famous resident.

Creator Memorph has transformed roughly 1,300 LEGO pieces into a display model that perfectly balances character accuracy with structural ingenuity. Donkey finds himself in a friendly headlock while the Gingerbread Man perches on Shrek’s shoulder, both built at smaller scales to create a dynamic composition. The swamp base completes the scene with textured vegetation and the iconic “BEWARE OGRE” warning sign, making this a love letter to DreamWorks’ beloved franchise that goes far beyond what traditional minifigure sets can achieve.

Designer: Memorph

Shrek hit theaters in 2001 and immediately became the anti-Disney fairy tale everyone didn’t know they needed. DreamWorks took every princess trope, dunked it in swamp water, and gave us an ogre who just wanted to be left alone with his layers of emotional complexity. The film spawned three sequels, became a meme goldmine decades later, and somehow made Rufus Wainwright’s cover of “Hallelujah” the definitive version for an entire generation who’ll fight you about Leonard Cohen’s original.

Twenty-plus years later, people still quote the movie constantly, still reference the swamp aesthetic, and still have strong opinions about which sequel actually holds up. Memorph nailed this perfectly, with a build that accurately captures Shrek’s personality through curved slope pieces that form his rounded belly, strategic color blocking that transitions seamlessly from green torso to tan skin, and that trademark smirk with eyebrows raised in perpetual annoyance. His stubby fingers articulate, the arms have decent range of motion, and the vest sits with a slight rumple that makes him look lived-in rather than rigidly geometric.

Donkey stands at roughly a third of Shrek’s height, and the scale difference creates visual hierarchy that keeps your eye moving around the whole composition. Those big eyes and articulated legs pack surprising detail into a much smaller footprint. You can immediately tell it’s the motor-mouthed sidekick even without color cues. The Gingerbread Man perched up on Shrek’s shoulder is actually a modified minifigure, fitting the scene’s scale perfectly. The swamp base uses textured green plates and brown borders to ground everything, plus that warning sign with the printed “BEWARE OGRE” text. Yeah, it’s a sticker or print, but building those letters from bricks would have looked like garbage.

LEGO already makes a Shrek set with standard minifigures, the kind kids bash together during playtime. This exists in an entirely different category. You wouldn’t compare buying an action figure to commissioning a sculpture, right? Brick-built character models target adult collectors who want both the building experience and something shelf-worthy when they’re done. The brick-built Mickey Mouse sold well, BrickHeadz became an entire product line, and there’s clearly appetite for display pieces that require actual building skill. At 1,300 pieces, this hits that zone where the construction feels substantial without demanding you clear an entire weekend. You could knock this out over a few evenings and actually enjoy the process instead of grinding through repetitive sections.

Memorph submitted this through LEGO Ideas, which operates as crowdsourced product development. Projects need 10,000 supporters within a set timeframe to trigger an official review by LEGO’s team. Right now this Shrek build has 187 supporters with 425 days left on the clock. Hitting 10K doesn’t guarantee production since LEGO still evaluates manufacturing viability, licensing agreements with DreamWorks, and whether it fits their current lineup. Plenty of projects reach the threshold and still get rejected. But it’s literally the only mechanism for turning a fan concept into something you can buy at a store.

You want this on your shelf? Go to the LEGO Ideas page and click support. Takes thirty seconds if you have an account, maybe two minutes to create one if you don’t. The platform costs nothing, you’re just registering interest in the concept. We could use more brick-built character models that actually capture personality instead of looking like someone’s first attempt at geometric abstraction. Shrek proves organic curves and expressive faces work when the builder genuinely understands how LEGO pieces interact. Plus, any excuse to get Donkey in a headlock is worth supporting.

The post LEGO Shrek’s Swamp Build Captures What the Official Set Missed Entirely first appeared on Yanko Design.

Infinix Note 60 Pro looks like an iPhone 17 Pro with Nothing’s Glyph Matrix on the back

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Infinix looked at the iPhone 17 Pro, looked at the Nothing Phone (3), and decided both phones had one good idea worth combining. The Note 60 Pro’s camera plateau is lifted directly from Apple’s design playbook: that horizontal pill shape spanning the phone’s width, housing three vertical lenses on the left side, available in a Solar Orange finish that’s Apple down to the shade. The right side of that plateau, though, gets filled with a dot-matrix display borrowed from Nothing’s Glyph experiments, showing weather, time, notifications, and music controls in small illuminated dots.

This collision of reference points could have produced incoherent design, but Infinix committed hard enough to make it work. The plateau provides a unified canvas rather than trying to bolt disparate elements together, and the matrix display gets proper size instead of being minimized into uselessness. You can actually read the information displayed without straining, which already puts it ahead of the Phone (3)’s too-small implementation. The question isn’t whether Infinix executed the feature better, but whether the feature itself is anything more than a solution looking for a problem.

Designer: Infinix

Let’s be direct: this is a derivative design. It’s a collage of other companies’ proven successes, banking on the idea that combining two popular aesthetics will create a third. While the integration is clean, it reveals a lack of a core design identity from Infinix itself. This is the strategy of a market follower, not a leader. The approach is to create something that feels familiar enough to be desirable but different enough to be noticeable. It’s a tactic for grabbing attention in a crowded mid-range space, but it does little to build a unique, recognizable brand language for the long term.

Of course, the spec sheet is designed to impress, and on paper, it does. Switching to a Qualcomm Snapdragon 7s Gen 4 is a solid move for performance credibility. That chip drives a large 6.78-inch display with a 1.5K resolution and a 144Hz refresh rate, numbers that are undeniably competitive. A 6,500mAh battery with 90W charging is equally impressive. The risk with spec-heavy mid-rangers is that the software experience often fails to optimize the hardware. The real test will be in the day-to-day performance, software support, and whether the user interface is clean or laden with bloatware.

As of now, Infinix has not released official pricing or a specific launch date, which keeps the final verdict in limbo. The company’s typical strategy involves aggressive pricing in markets across Africa, Southeast Asia, and India, so we can expect it to land in a competitive sub-$400 bracket to undercut established players. Its success will ultimately hinge on that price tag (as well as how functional that ‘glyph matrix’ is). If it’s priced too close to the devices it’s mimicking, the derivative design becomes a liability. If it’s cheap enough, this combination of high-end specs and borrowed aesthetics could be a disruptive formula in its target regions.

The post Infinix Note 60 Pro looks like an iPhone 17 Pro with Nothing’s Glyph Matrix on the back first appeared on Yanko Design.

Did Ferrari And Jony Ive Just Build The ‘Apple Car’?

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Five years after Jony Ive left Apple, and two years after Apple killed Project Titan, we finally know what the Apple Car’s interior *could* have looked like. It just happens to have a prancing horse on the steering wheel instead of a bitten apple.

The Ferrari Luce, revealed last week in San Francisco, is a transplant of Apple’s design language into automotive form. Everything about this interior, from the E-ink key fob to the OLED dials to the obsessive material purity, carries the unmistakable signature of Apple’s design peak from 2015 to 2019, when Ive still occupied his Cupertino office and the car project remained alive.

The Apple DNA is Everywhere

Walk through the components and the Apple DNA becomes impossible to ignore. The key fob magnetically docks into the center console and changes color via E-ink display. This is MagSafe technology meets Apple Watch complications, translated into a car key. The center screen features an analog clock that transforms into a chronograph and compass with the press of two buttons. Pull up any image of Apple Watch faces and the interaction model is identical.

The toggle switches and knobs scattered throughout the cabin represent the physical interface philosophy Ive has been refining since the original iMac. The Digital Crown on the Apple Watch, the mute switch on the iPhone, the volume controls on the HomePod. These are the same careful considerations about how humans interact with objects through touch and rotation. The OLED binnacle behind the steering wheel uses a parallax effect to create depth perception, the same technology that made the iPhone X’s face recognition possible, now applied to gauge clusters.

Then there’s the material palette: recycled aluminum with a microscopic anodized texture, Corning glass surfaces, leather in muted tan. This is the 2017 iPhone X material story. This is the unibody MacBook recipe. This is every premium Apple product from the past decade, reassembled into automotive architecture.

Wait, Is This the Same Jony Ive?

Consider what Ive said at the reveal: “It’s bizarre and lazy to assume the interface should be digital if the power source is electric.”

This is the man who killed the headphone jack. Who removed every port from the MacBook. Who spent twenty years eliminating physical buttons, physical connections, physical everything. And now he’s arguing that physical controls matter? That tactility is essential? That you can’t just solve everything with a touchscreen?

Maybe the context really does change everything. A phone lives in your pocket. You can look at it. A car moves at 200 kilometers per hour. Looking away kills people. Or maybe Ive has simply evolved. Perhaps LoveFrom represents a different philosophy than Apple did, one less concerned with relentless minimalism and more interested in appropriate solutions. Or perhaps this is who Ive always was, and Apple’s commercial pressures pushed him toward deletion when his instincts wanted refinement.

The Luce interior suggests that physical interfaces weren’t the enemy. Bad physical interfaces were. Give Ive the freedom to perfect a toggle switch, to make a dial that clicks with precision, to create a button that feels inevitable, and he’ll choose physical every time. The question is whether we’re seeing growth or contradiction.

The Timeline is ‘Interesting’

Apple started Project Titan in 2014. By 2016, Ive had become increasingly involved as the project shifted from full autonomy toward driver-focused experiences. He left Apple in 2019 but reportedly continued consulting on the car. In 2024, Apple abandoned the project entirely. During those years, Bloomberg reported that the Apple Car was supposed to feature premium materials, minimalist interiors, physical controls prioritized over touchscreens, and a “living room on wheels” concept.

Here’s what actually happened: Ive leaves Apple in 2019 and forms LoveFrom. Two years later, in 2021, Ferrari announces the partnership. That means conversations started immediately after his departure, possibly before. Ive spent a decade developing car interior concepts at a company with unlimited resources. Then he got to actually build one at a different company with unlimited resources and, crucially, manufacturing capability that Apple never developed.

My guess is Ferrari didn’t hire LoveFrom for an overhaul. They hired them for battle-tested thinking that never shipped.

Why Ferrari Said Yes

From Ferrari’s perspective, the logic is clear. They’ve never built an electric vehicle. Their customer base is deeply skeptical of electrification. They need to signal that the Luce represents something genuinely different, something beyond an electrified 296 GTB. So they hire the two most famous industrial designers on Earth, who happen to have spent years thinking about this exact problem at a different technology giant.

It’s outsourcing credibility as much as design. When people inevitably say “that doesn’t look like a Ferrari,” Ferrari can point to LoveFrom and say “well, exactly.” They’ve purchased permission to break from tradition by hiring people with no Ferrari tradition to break from. The prancing horse gives LoveFrom legitimacy in automotive circles. LoveFrom gives Ferrari legitimacy in technology circles. It’s a perfect exchange.

But the question remains: did Ferrari want Ive’s vision, or did they want Ive’s brand? Because what they received feels unmistakably like Apple-thinking while wearing a Ferrari cap.

The May Reveal Will Answer Everything

The real test arrives in May when Ferrari reveals the exterior. Right now we’ve only seen the interior, which is LoveFrom’s natural domain: screens, materials, ergonomics, spatial relationships. The exterior is different. It has to work in a Maranello showroom next to a 12Cilindri and an SF90. It has to look fast while standing still. It has to carry seventy-nine years of design language forward into an electric future.

Can Ive do that? Has he ever designed anything with that kind of visual aggression? His career has been defined by approachability, by objects that invite touch, by forms that recede rather than announce themselves. Ferraris don’t recede. They dominate spaces. They demand attention. If the exterior looks like an Apple product in May, then this really could be what the Apple Car might have become. If it looks genuinely Ferrari, then maybe LoveFrom understands they serve the brand rather than the reverse.

What This Tells Us About the Car That Never Was

The Luce interior reveals something bittersweet about the Apple Car that never was. This is the closest we’ll get to seeing what that vision might have looked like. But it also proves why Apple was probably right to kill the project. It took Ferrari, a company with seventy-nine years of automotive manufacturing experience, five years and presumably nine figures to turn Ive’s concepts into reality. And they still don’t know if customers will accept it. Imagine Apple attempting this from scratch, competing with Tesla on price, managing recalls and service networks and dealer relationships.

The Luce interior is stunning. It’s also a monument to why the Apple Car would have most likely been an operational nightmare, given that Apple isn’t an automotive company.

The irony is perfect: Jony Ive finally got to build his car. He just needed Ferrari to do the hard part.

The post Did Ferrari And Jony Ive Just Build The ‘Apple Car’? first appeared on Yanko Design.

Samsung’s Book-Shaped Air Purifier Concept Gives You A Personal Tabletop Filtered Air Supply

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It doesn’t give me any pleasure whatsoever to admit I come from India, a country where an AQI of 150 is considered ‘a normal day’. People living in the capital city of Delhi are accustomed to AQI hitting highs of 400 on bad days, where a single breath of air is equivalent to smoking a cigarette. It’s a terrible condition to live through, and almost everyone owns an air purifier that gets strategically placed in either the bedroom or the living room, in the hopes that this one tiny device will be able to do something… just something to clean the air around it.

While that approach is commendable, the portable air purifier segment is still something to be explored. Imagine a tiny air purifier, small as a book, designed to be carried around from room to room with you, so that you’re always breathing clean(ish) air wherever you sit. This concept from Samsung takes on the literal shape of a hardcover book, and can be carried around with you from one room to another. The all-metal design feels premium to the touch, and opens up in ways that allow you to prop the purifier either vertically or horizontally for optimal airflow targeting.

Designer: intenxiv inc.

The book-shaped design gives the purifier a level of portability that your otherwise-clunky room air purifier just can’t attain. Place it on a tabletop, either horizontally or vertically, with the ability to angle it thanks to an adjustable kickstand. Air gets pulled from the top and pushed through the front, passing through a HEPA filter that traps a variety of particulate matter to give you dust-free air. This is the standard template of almost every purifier out there, but what Samsung’s concept does is make things hyper-portable.

The all-metal design feels premium, with the overall minimalist appearance bordering on something you’d see from Bang & Olufsen’s speakers. This one, however, bears Samsung’s name on the top, along with Mini Air (the product name) on the ‘spine’. Controls on the side let you increase or decrease the fan speed, while a USB-C port lets you charge the purifier.

A slot on the side lets you pop the HEPA filter out for replacement or cleaning. The details aren’t clear given that this is just a concept created by intenxiv inc. under some form of an internship or apprenticeship at Samsung Electronics in 2019. A ‘bookmark’ on the front lip acts as a notification light to let you know battery status, and whether the purifier’s switched on or not. One can only assume the fans are so quiet that you’d need such a light to let you know the purifier is running.

The purifier comes in two colorways. A lighter metallic variant and a slightly darker ‘space grey’ version. Both are identical in shape and size, barring the slight color change as well as the ‘bookmark’ on the side that’s either orange or teal, depending on the variant you pick.

The design is just a concept for now, but the template absolutely shouldn’t be. Portable air purifiers are a pretty unexplored category (at least by larger companies). Dyson did release a set of air purifying headphones ages ago, but the product never managed to hit mass appeal. A smaller air purifier like this one would fit well in most smaller apartments, whether they’re dorms/hostels, office cubicles, or tiny homes in the city.

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LEGO Just Released a $120 Sea Otter Set That Connects So They Can Hold Paws

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Sea otters hold hands when they sleep. It’s one of those facts that makes you stop scrolling and smile, the kind of detail that feels almost too charming to be true. But it is true, and now it’s immortalized in LEGO form.

The Floating Sea Otters set (21366) started as a fan submission by Maximilian Lambrecht and evolved into something even more endearing than the original design. What began as a single otter floating in kelp became a mother cradling her pup, complete with articulated arms and a secret feature that lets two sets connect so the otters can hold hands. The LEGO designers didn’t just approve the concept. They found ways to make it cuter.

Designers: LEGO & Maximilian Lambrecht

LEGO Ideas has always been the platform’s most interesting experiment in crowdsourced design, and this set demonstrates why the model works when it actually works. Lambrecht submitted his original concept in April 2024 after spending two months researching sea otter ecology and visiting the Berlin Zoo to nail the anatomical details. His submission hit 10,000 supporters, clearing the first hurdle, and then LEGO Designer Chris McVeigh got his hands on it. The transformation between fan concept and retail product tells you everything about how professional iteration elevates good ideas into genuinely compelling builds.

Lambrecht’s original design featured a single otter with movable paws, head, and mouth. Solid foundation, but McVeigh saw room to amplify the emotional hook. Adding the pup required rethinking the entire structural approach. The mother needed to be fully reclined rather than partially upright, which meant her arms had to articulate underwater to cradle the baby. That change cascaded into making the base thicker to accommodate the elbow joints, then extending the water elements over the edge of the base to maintain visual balance. Each decision triggered the next, the kind of iterative refinement that separates amateur builds from retail products.

Clear blue tiles layered over teal plates create the water surface, and the effect punches well above its complexity. You get depth and shimmer without overcomplicating the build or inflating the piece count. LEGO hasn’t released official specs yet, but based on the photos this looks like a 400 to 500 piece range, putting it in that sweet spot for display sets: complex enough to be satisfying, simple enough to finish in an evening. The technique isn’t revolutionary, but the execution nails the balance between realism and LEGO’s inherent abstraction. Sometimes the best design choices are the ones that don’t call attention to themselves.

Two sets can connect so the otters hold hands while floating. Real sea otters do this to avoid drifting apart while sleeping, and McVeigh could have easily skipped this feature in favor of simpler construction. But keeping that behavioral detail intact means the set works as both a display piece and an actual reflection of sea otter ecology. Lambrecht wanted the educational angle from the start. “The sea otter plays a key factor in maintaining and nurturing kelp forests as well as affecting rocky ecosystems,” he explained during development. “It was important to me to implement those aspects into my build as well.” McVeigh honored that intent instead of stripping it away for mass market appeal, which is rarer than you’d think in licensed product development.

Curved brown plates stack to suggest the otter’s rounded body, white shell pieces become claws, and the head construction uses enough articulation to give each build a slightly different personality. Lambrecht mentioned that “getting the head right was definitely a tough shell to crack,” which makes sense when you’re trying to capture organic shapes with rectangular bricks. The retail version keeps that challenge visible in a good way. You can see the construction technique, understand how it works, and still read it as unmistakably otter. Lambrecht’s kayaking encounter with a river otter stuck with him. “For me, this experience was truly magical. It’s a memory I wanted to cherish, brick by brick.” That kind of personal connection to source material shows up in the final product, which is probably why McVeigh’s team worked to preserve it rather than homogenize it.

The set is up for pre-order now at $119.99 and ships March 1, 2026. That’s steeper than I expected for the piece count, but Ideas sets have been creeping up in price across the board lately. You’re paying partly for the articulation engineering, partly for the fan designer royalty structure, and partly because LEGO knows people will pay premium for cute animal builds. If you want the hand-holding feature to actually work, you’re looking at nearly $240 for two sets, which is a tough sell unless you’re really committed to the bit. Still, for a single display piece with actual ecological messaging baked in, it’s competitive with other recent Ideas releases. Pre-orders tend to sell through fast on these, so if you’re interested, don’t sleep on it.

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Forget CarPlay: Sherpa’s AR Glasses Decode Road Signs and Dashboard Icons For Nervous New Drivers

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The AR glasses market keeps promising us augmented productivity and enhanced experiences, then delivering expensive ways to check notifications without pulling out your phone. Sherpa takes a different approach by targeting a specific moment of genuine incompetence: those first few months behind the wheel when every intersection feels like a pop quiz you didn’t study for. The concept uses heads-up displays to overlay directional cues and translate dashboard indicators, theoretically keeping your eyes on the road instead of darting between the windshield and that mysterious warning light.

What makes this Hongik University project interesting isn’t the hardware, which looks like standard-issue smart glasses in white plastic. It’s the learning system built around it. After each drive, the companion app analyzes your performance and identifies patterns in your mistakes. Miss the same type of turn signal three times? The AI notices. Struggle with a particular intersection? It breaks down what went wrong. Most new drivers get feedback in the form of angry horns and passenger-seat panic. This proposes something more useful, assuming you’re willing to let an algorithm critique your lane changes.

Designers: Yeongjun Yun, Jaeyun Lee

The hardware itself follows the current playbook for consumer AR: rounded frames thick enough to house display optics, visible sensor cutouts on the nose bridge (likely cameras for environmental and eye tracking), and an adjustable temple mechanism that looks borrowed from premium eyewear design. They’ve skipped the usual temptation to make it look aggressively futuristic, which matters when your target audience already feels self-conscious about their driving abilities. The cylindrical charging case suggests they’re thinking about daily use patterns rather than occasional deployment, treating this like essential equipment you grab before every drive during those first nervous months.

Where this gets genuinely clever is the integration with what they’re calling SDV, or software-defined vehicles. Modern cars already collect absurd amounts of data through their sensor arrays. Sherpa appears designed to tap into that information stream and translate it into actionable guidance. The system knows when you’ve entered a complex intersection, can read your hesitation through eye tracking, and overlay exactly what you’re supposed to watch for at that moment. Then it remembers that you struggle with this specific scenario and adjusts future guidance accordingly.

Unlike entertainment-focused AR wearables, this actually solves a real use case, which puts it ahead of most AR glasses the industry is trying to push down our throats. Driving schools teach you mechanics but abandon you at the precise moment when contextual learning would help most. If Sherpa can fill that gap between instruction and competence, it might be the first consumer AR application that people actually need rather than tolerate. Whether novice drivers will adopt glasses that broadcast their inexperience is a different question entirely, but at minimum someone’s finally asking AR to do actual work.

The post Forget CarPlay: Sherpa’s AR Glasses Decode Road Signs and Dashboard Icons For Nervous New Drivers first appeared on Yanko Design.