Author Archives: Sarang Sheth

Sony Is Killing PlayStation Game Discs Exactly How Apple Killed the Headphone Jack

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I got a serious case of déjà vu when Sony announced it was ending physical disc production in 2028. Reading their blog post about “shifting consumer preferences” and this being a “natural direction” felt a little too familiar, like I had seen this exact movie before. It was the same carefully polished language a company uses when it’s about to take away a feature you like, while insisting the decision is actually for your own good. You get the sense they are celebrating a future you never really asked for.

It took a minute to place the feeling, but then it hit me: the headphone jack. The script is identical, just with different actors. Apple told us removing a universal port was an act of “courage” that would push technology forward. Now, Sony is telling us that removing our ability to own, resell, or lend games is just an adaptation to “consumer trends.” In both cases, a simple, reliable, and open standard was sacrificed for a proprietary, walled-off ecosystem that benefits the company far more than the customer.

The ‘Courage’ to Make More Money

When Apple took the stage in 2016, they presented the removal of the headphone jack as a noble sacrifice for the sake of innovation. They needed more space, they said, for a better camera system, a bigger battery, and improved water resistance. While those claims had a kernel of truth, they cleverly obscured the much larger, more profitable truth. The real story, the one that made Apple billions of dollars, was the creation of a new, captive market. Suddenly, every headphone manufacturer had to pay Apple a licensing fee to use the Lightning port, or you, the customer, had to buy an adapter. Better yet, you could just buy their new, wonderfully convenient AirPods.

Sony is playing from the same sheet music, just in a different key. The company points to the very real trend of digital game sales outpacing physical ones as its justification. It’s true, more people are downloading games. But the business logic behind this move is far more calculated than simply following a trend. By eliminating discs, Sony wipes out the costs of manufacturing, packaging, and shipping games globally. More importantly, it lands a fatal blow on the used game market. Without discs, there is no GameStop, no eBay, no lending a copy to your cousin. Every single dollar spent on a new game must pass through the PlayStation Store, where Sony takes a cut, controls the price, and has absolute authority.

A Design That Trusts You Less

I’ve always believed that good product design builds a relationship of trust with the user. You buy a thing, and you expect it to serve your needs, not just the manufacturer’s. The PlayStation’s disc drive was a perfect example of that trust. It was a feature that gave you, the player, autonomy. It let you buy games from any retailer, hunt for deals, borrow from a friend, or sell a game when you were finished to fund your next purchase. It was a gateway to a world outside of Sony’s direct control, and that freedom was a core part of the product’s design. It was a humble component that respected your intelligence and your wallet.

This is what makes Sony’s decision feel like such a step backward. Removing the disc drive is a design choice that actively distrusts the user by removing their options. It funnels a global community of millions into a single, unmissable path that leads directly back to Sony’s pockets. The console transforms from a tool you own into a terminal for a service you rent. Apple did the exact same thing. The 3.5mm headphone jack was an open door, a universal standard that worked with everything from cheap earbuds to high-end studio monitors. The Lightning port and the proprietary chip in AirPods are guarded gates. Sony is simply building its own gate, and the price of admission is your freedom of choice.

Your Digital Library Is Rented. You Own Nothing.

The most significant consequence of this all-digital future is the redefinition of ownership itself. When you buy a game on a disc, you own a physical object. You have a legal right, under the “first-sale doctrine,” to do what you want with that object. You can sell it, lend it, or use it as a very expensive coaster. A company can’t reach into your home and take it back. A digital license, which is what you buy from the PlayStation Store, offers none of those protections. You are paying for permission to access data, and that permission can be revoked at any time, for any reason.

If that sounds like a paranoid exaggeration, just look at Sony’s own actions. A few weeks before this grand announcement about the future of gaming, the company began notifying users in Europe that it would be permanently deleting hundreds of purchased movies and TV shows from their digital libraries because a licensing deal had expired. Acclaimed films like Terminator 2 and Apocalypse Now, which people had paid for, were simply vanishing from their accounts. There were no refunds. This isn’t a hypothetical fear; it’s a demonstrated business practice. The all-digital, streamlined future Sony is so excited about is one where your game collection is not a collection at all. It’s a temporary service that exists entirely at their convenience.

The post Sony Is Killing PlayStation Game Discs Exactly How Apple Killed the Headphone Jack first appeared on Yanko Design.

LEGO Fan Recreates Jeff Koons’ Iconic Balloon Dog In Just 1,026 Bricks

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LEGO already makes a balloon dog. It’s part 35692, it’s about the size of a fingernail, and it shows up as an accessory in carnival and fairground sets so your minifigs have something to hold at the fun fair. It’s charming and completely forgettable, the sort of piece that lives in the bottom of the tub with the croissants and the tiny frying pans.

brxstr looked at that and asked the reasonable follow-up question: why is there no big one? Balloon Dog Mk II is his answer, a 1,026-piece display model in classic glossy red that scales the gag up to 15 inches long and 12.5 inches tall. And in a move I genuinely love, four of the original tiny balloon dogs are hidden inside the finished build, mounted on a wall like lab specimens. More on that in a moment, because the inside of this thing runs on a completely different sense of humor from the outside.

Designer: brxstr

The entire model hinges on one part. Piece 5274, the 8x6x2 curved windscreen, only arrived in the LEGO palette around 2024, and brxstr scrapped an earlier version of this MOC (My Own Creation) to rebuild from scratch once he had it. Two of them mirrored together form a single balloon segment, and every lobe on the dog, the nose, the ears, the barrel body, the four legs, comes from that same trick. The tapered tips get a smaller rounded windscreen to close them off. Technic angled elements do the connecting work inside, hidden entirely, which is the part that took the patience. Hiding structure is harder than building it.

What sells the illusion is something he probably didn’t plan. Along each lobe you can see dashed dark seams where plate edges meet, and rather than reading as sloppy tolerance, they look exactly like the crease lines you get on over-inflated latex. Free realism. The flared nozzle at the front of the nose is my favorite single piece here, one small element doing the entire job of saying “this was blown up by a person.”

Then you lift the top of the body off. Inside sits a minifig in a yellow hazmat suit, radiation warning on his chest, standing over a trans-blue gas cylinder with a chrome pipe feeding in from a printed gauge panel, a valve wheel on the opposite wall, and those four tiny balloon dogs racked up behind him. A second minifig sits in the head, steering. It’s the funniest thing about the build, because the exterior is so serene and the interior suggests the dog is a pressurized industrial vessel operated by two guys.

Two parts, the tapered end pieces and the round 6×6 bricks in the head and tail, don’t currently exist in red, which is a small ask. brxstr has floated other colorways and even a multicolored version, and honestly I want the full clown-cart rainbow. The build sits at 906 supporters with 423 days on the clock, so head to the LEGO Ideas page and give it a vote.

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5 Ways Galaxy Z Fold 7 Still Impresses Over the New Fold 8 Ultra (Including the $600 Price Difference)

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Samsung has perfected the art of making last year’s phone feel obsolete before you have even recycled the box. The Galaxy Z Fold 8 Ultra landed July 22, 2026, with the usual fanfare: bigger battery, upgraded display, new Ultra branding, and a price tag to match. The Galaxy Z Fold 7, meanwhile, has been sitting quietly for a year building a case for itself that the Fold 8 Ultra cannot simply overwrite by being launched 365 days later. The Galaxy Z Fold 7 arrived in July 2025 as the thinnest and lightest book-style foldable Samsung had ever made, and the design bets it placed around weight, thinness, and camera hardware are ones the newer phone essentially confirms rather than replaces. Sometimes the sequel’s biggest achievement is simply showing what its predecessor got right.

At 4.2mm unfolded, 8.9mm folded, and 215 grams, last year’s Fold 7 was truly a generational leap in design and form factor. It shed 24 grams and 3 full millimeters in folded thickness from the Fold 6 (which measured 12.1mm folded shut), gained a 6.5-inch 21:9 cover display that made it genuinely usable without unfolding, and became the first Samsung foldable to carry a 200MP main camera. We covered that form-factor leap when the Fold 7 launched, noting how the hands-on experience felt categorically different from any Fold before it. The Fold 8 Ultra starts at $2,099.99, a full $100 above the Fold 7’s launch price, and street pricing on the older phone has already settled to as low as $1,499.99 with no trade-in required (that’s a $600 discount on what’s essentially last year’s phone). Before anyone files the Fold 7 under “last year’s news,” here are five reasons why I might just end up recommending the Z Fold 7 over this year’s Z Fold 8 Ultra.

1. The 0.1mm Difference You Will Never Actually Feel

The Fold 8 Ultra unfolds to 4.1mm and the Fold 7 unfolds to 4.2mm, a gap of exactly 0.1mm, roughly the thickness of a sheet of copier paper. The Fold 7 was the phone that did the heavy lifting to get here: it jumped from 5.6mm to 4.2mm unfolded in a single generation, dropping folded thickness from 12.1mm to 8.9mm, a shift dramatic enough that GSMArena observed at launch that those numbers put it “well within the range of a normal, non-bendable smartphone.” We noted the same thing in our hands-on coverage when the Fold 7 shipped: the form factor breakthrough had already happened. The Fold 8 Ultra shaves one more paper-thin slice off a number the Fold 7 already made impressive, and then stops. The Fold 7 earned the thinness headline. The Fold 8 Ultra mostly inherited it.

The Fold 8 Ultra holds that same 215g weight while fitting a 5,000mAh battery, up 14% from the Fold 7’s 4,400mAh cell, by switching to a silicon-carbon composite anode that stores significantly more energy per unit of physical volume than conventional graphite. That is real engineering and it deserves credit. The catch is that maintaining a 4.1mm profile with Flex Titanium, a two-layer titanium system replacing the polymer film beneath the OLED panel, also means the display is now physically incompatible with the EMR digitizer the S Pen requires, so neither the Fold 8 nor the Fold 8 Ultra support stylus input in any form. You would need a caliper to prove which phone is technically thinner, and you have lost the S Pen on both. Most people carry neither.

2. Both Weigh Exactly 215 Grams

Samsung’s own comparison page lists both the Fold 7 and the Fold 8 Ultra at exactly 215 grams, which is either proof that Samsung found the sweet spot a year ago or a quiet admission that the successor could not improve on it. When the Fold 7 launched, Samsung made a point of noting it weighed less than the Galaxy S25 Ultra, a legitimately striking benchmark for a book-style foldable carrying a full 8-inch display inside. That weight, combined with the 8.9mm folded profile and the new 21:9 cover screen, was the ergonomic package that made the Fold 7 feel like a phone you could carry all day rather than one you carry as a statement. The Fold 8 Ultra holds that same 215 grams while fitting a larger battery, which is impressive. But from your palm, your jacket pocket, or your wrist after a full day, there is no difference between the two.

The Galaxy Z Fold 6 weighed 239 grams and folded to 12.1mm, numbers that made daily carry feel like a deliberate lifestyle choice rather than an automatic one. Samsung spent multiple generations chipping away at that figure while simultaneously adding larger displays, bigger batteries, and more complex hinge hardware. The Fold 7 was where the weight finally cleared a threshold that stopped being a talking point and started being a genuine advantage. The Fold 8 Ultra confirmed that 215 grams is the number Samsung is now defending, not improving. If daily carry comfort is why you are considering an upgrade, the Fold 7 already delivered that in 2025, and you would be spending $600 more to carry the same weight in a slightly newer chassis.

3. It Is Genuinely, Significantly Cheaper Right Now

By the time the Fold 8 Ultra went on sale at $2,099.99, the Galaxy Z Fold 7 had already dropped to $1,499.99 at Samsung.com with no trade-in required, putting the live price gap between the two at $600. That is not a rounding error in phone pricing; that is practically a separate mid-range device worth of money sitting between the two numbers. As early as May 2026, the Fold 7 was already at $1,599 at Samsung.com and around $1,649 at Best Buy and Amazon. Samsung’s own pre-launch clearance is about as honest a signal as any company sends: the older phone has value worth capturing before the new one dominates the headlines. The bargain is real regardless of the inventory motive behind it.

The Fold 7 at $1,499.99 gives you a 200MP main camera, a Snapdragon 8 Elite chipset, a 6.5-inch 21:9 cover display, an 8-inch main display, and seven years of software updates. The Fold 8 Ultra at $2,099.99 gives you the same display sizes, the same primary camera resolution, a 50MP ultra-wide upgrade, a larger battery, and 0.1mm less thickness. For some buyers, particularly those shooting wide-angle photography deliberately or upgrading from a Fold 5 or earlier, that $600 premium is arguable. For everyone else, the Fold 7 at its current price is the kind of deal where the question shifts from “should I buy this” to “how quickly can I get it here.” Samsung’s pricing history suggests there is room for it to slide further before the year ends, which makes the current window feel worth acting on.

4. The 200MP Main Camera Is Still Doing the Work

The 200MP wide-angle main camera with ProVisual Engine in the Fold 7 is the same sensor class Samsung put in the Galaxy S25 Ultra, one of 2025’s benchmark smartphone cameras, and the Fold 8 Ultra carries that headline resolution forward unchanged. At F1.7 aperture with optical image stabilization and Quad Pixel autofocus, it was the moment Samsung’s foldable camera finally stopped making concessions against its own S-series lineup, and that standing holds a year later. Portraits, street photography, architecture, food, travel, and whatever low-light situation you find yourself in: the Fold 7’s primary camera performs at the same level as the Fold 8 Ultra on the lens both phones share. The Fold 8 Ultra’s marketing emphasizes improved ProVisual Engine processing, which is technically accurate, but the sensor it is working with is the same 200MP hardware the Fold 7 has been running for a year. That does not suddenly change because a newer model arrived.

I will be honest, the ultra-wide is where the Fold 8 Ultra makes its strongest single camera argument, jumping from 12MP to 50MP, and for anyone who uses that lens with intention and regularity, it is a gap the Fold 7 cannot close. The Fold 8 Ultra also adds 8K video recording, which will matter to a specific kind of creator. These are genuine wins, and this article is not pretending otherwise. But the camera most people aim most of the time is the primary 200MP wide, and on that lens, both phones are drawing from the same well. If your photography does not live on ultra-wide frames or 8K timelines, the Fold 7 is not leaving anything meaningful behind.

5. Seven Years of Updates, and the Clock Has Barely Started

Samsung committed seven years of Android OS updates and security patches to the Galaxy Z Fold 7 at launch, tracking it forward to Android 23 from its starting point of Android 16 and One UI 8.0, making it the first phone in the world to ship with Android 16 out of the box. It has since received One UI 8.5, and that support window is fully intact for anyone buying a discounted unit today. The seven-year commitment Samsung formalized across its Galaxy S and Z lineup from 2024 onward makes the Fold 7 a device with a genuine long-term horizon, not a three-year countdown to planned obsolescence. Picking one up at $1,499.99 now does not mean inheriting a depleted window; it means starting from roughly the same point a launch-day buyer started a year ago, with six more Android generations still incoming. You are not buying into a dead end. You are buying into six more years of the same software future.

The Fold 8 Ultra carries the same seven-year promise, so there is no software advantage to paying the premium. Both devices reach Android 23 as their ceiling, and both receive the same One UI update cadence through that window. The only meaningful difference is that the Fold 8 Ultra ships with One UI 9 and Android 17, which the Fold 7 will receive via update anyway. Paying $600 more to have Android 17 on day one, a few weeks before the Fold 7 update ships, is an unusually expensive cure for impatience. Software longevity is the Fold 7’s quietest argument, and it tends to be the most convincing one for anyone who has watched a phone get dropped from updates two years after launch.

Flex Titanium does meaningfully reduce the crease on the Fold 8 Ultra’s inner panel, the 50MP ultra-wide is a real camera leap over 12MP, and fitting a 5,000mAh cell at the same 215g through silicon-carbon anode engineering is the kind of progress that compounds across an ownership cycle. For first-time foldable buyers or anyone on a Fold 5 or earlier, the Fold 8 Ultra is a strong device at a premium price, and it goes on sale August 7. If you are a Fold 7 owner staring at a $600 gap, a 0.1mm thinner profile, and a stylus that neither phone supports anymore as the headline reasons to upgrade, the math is genuinely hard to close. The Fold 7 already solved the problems that made book-style foldables annoying: the weight, the bulk, the pocketability, the camera gap with Samsung’s own flagships. It is doing all of that right now at $1,499.99, and sometimes the smartest phone in the room is just the one that got there a year early.

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This $2,999 Device Turns Your Desktop Into A Custom Apparel Printing Factory (With Air Purification)

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Let’s talk about the math for starting a small apparel brand. You have the designs, the drive, and a growing list of people who want to buy your stuff. Then you look up the gear. Aside from the thousands in hardware, materials, and a good air-purification system (because breathing is generally a good thing), you’re also looking at a massive space investment. Suddenly, you’re nearly $10k in, and need an entire garage for something the XtraMaker M1 Series offers in a tabletop format for a fraction of the price. With a modular printhead design no less, allowing for customization all within the form factor of a large microwave oven.

This is where the XtraMaker M1 Series finally brings apparel creation into the desktop factory era. It takes that sprawling, expensive production line and collapses it into a single, self-contained unit for $2,999. This is the micro-factory for fabric we’ve been waiting for, handling everything from printing the transfer to curing the adhesive inside a fume-filtered system that fits on a desk. It’s the machine that makes the business plan finally make sense, shrinking the startup cost by two-thirds and proving that the next big apparel brand doesn’t need an industrial loan to get started; it just needs a desktop.

Designer: XtraMaker

Click Here to Buy Now: $2999 $6499 ($3500 off). Hurry, only 38/50 left! Raised over $331,000.

The M1’s core innovation is condensing the entire five-step DTF relay race into a single, autonomous sprint. It prints, powders, shakes, cures, and purifies its own air without any manual handoff between stages. This integrated workflow is critical for a desktop machine, as it eliminates the mess and fumes that make traditional DTF printing impossible in a home or small studio. The enclosed system uses a multi-layer filter to capture stray adhesive powder and neutralize the chemical smell from the curing process, keeping the workspace clean and breathable. This turns what was once a multi-machine, garage-only operation into a clean, one-click process you can run from a spare room.

Print quality is anchored to commercial standards, with G7 Master-certified color accuracy ensuring that on-screen RGB designs translate faithfully to the final CMYK print. At a resolution of 1440×1440 DPI, the M1 Series produces sharp, detailed transfers where fine lines and photo-realistic gradients come through cleanly. The resulting prints are just 0.5mm thick, allowing them to blend seamlessly with the fabric’s texture rather than sitting on top like a stiff, plastic patch. This professional-grade output works across a huge range of materials, from cotton, denim, and polyester to more delicate fabrics like silk, giving creators a massive canvas for their ideas.

XtraMaker’s engineers clearly obsessed over reliability, building in a suite of defensive systems to prevent common failures. The most notorious issue in DTF printing, white ink clogging, is addressed by the LoopMaster™ system, which uses automatic 15-minute circulation cycles and continuous cartridge stirring to keep the dense ink from settling and drying in the lines (the white ink circulation system operates with zero ink consumption too). Even more impressive is the built-in UPS battery. If power cuts out, the battery instantly triggers a flush, replacing the ink with a protective fluid to save the printhead from drying out. The UPS battery also powers the printer’s auto-maintenance system while the machine is on standby or powered off. This enables the machine to automatically fill the ink channels with moisturizing liquid and keep the white ink stirring continuously for up to 30 days. Combined with over 20 sensors that monitor the machine’s health and ink levels in real-time, all this creates a system that actively works to prevent the most expensive and frustrating problems before they happen.

The entire package is tailored for small business growth, from the software to the hardware options. The XtraMaker Studios app includes a cost estimation tool that calculates ink and film usage, giving you a precise per-print cost so you can price your products profitably. A 3D preview feature also lets you see how a design will look on a finished garment, saving time and materials. The M1 itself comes in two sizes: the standard M1 for A4-sized prints, perfect for logos and chest graphics, and the larger M1 Pro, which handles A3+ prints for full-back designs on hoodies and jackets. This gives a growing brand a clear upgrade path as their product line and ambitions expand.

XtraMaker’s M1 Series is aimed squarely at the new wave of creators: Etsy sellers, independent streetwear labels, and craft fair operators who need professional output without the industrial overhead. While other desktop DTF printers exist, none integrate the entire five-step workflow, the advanced anti-clog and power-loss protection, and the built-in air purification into a single unit at this price. It’s a machine that understands that for a small business, the real costs are complexity, downtime, and mess.

Click Here to Buy Now: $2999 $6499 ($3500 off). Hurry, only 38/50 left! Raised over $331,000.

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Xiaomi’s $281 Portable Projector is effectively cheaper than paying for Netflix for a year

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Here is what $281 buys you in an American projector aisle right now: TCL’s C1 at $250 with 230 ISO lumens, or XGIMI’s Vibe One at $269 with 250 ANSI lumens and zero HDR support. Both are decent little machines. Both also demand a room dark enough that you stub your toe finding the sofa. The sub-$300 bracket in the West has genuinely improved, but it improved into “acceptable,” which is a low ceiling for a category promising a 120-inch screen. Xiaomi’s newest budget projector landed in China this week and makes that ceiling look even lower.

The Redmi Projector 5 Pro sells for 1,899 yuan, roughly $281, against a 1,999 yuan list price. That buys native 1080p at up to 120 inches, 1,000 CVIA lumens, HDR10, a 120Hz refresh rate with 5ms latency, dual HDMI, Wi-Fi 6, and a metal gimbal arm that swings the body through 150 degrees. A year of Netflix Premium now runs $323.88 after March’s price hike, so the hardware costs less than the subscription. What holds my attention is that the industrial design survived the price target intact, which almost never happens down here.

Designer: Xiaomi

The body is a soft white wedge with a fabric-wrapped front panel, cradled in a U-arm carrying the REDMI wordmark along its cross-member. That arm is structural rather than a bracket bolted on afterward, so the silhouette holds together from every angle instead of looking like a box propped on a stand. Budget projectors usually betray themselves at the seams, with plastic that doesn’t look premium or boast of a perfect surface finish. Here the perforated grille wraps one flank as deliberate texture, and the white-and-grey split keeps the mass visually light. The posture borrows from a studio monitor on a yoke, a smarter reference than the black plastic router look most of this segment settles for.

A ToF sensor, an HD camera and Xiaomi’s algorithms handle focus, keystone, obstacle avoidance and screen alignment without you opening a menu, and wall colour adaptation reads your paint job to adjust the image. The 150-degree tilt lets you aim at the ceiling by nudging the body rather than stacking books under one end. Thirty degrees of side projection correction covers the reality that nobody’s coffee table sits square to the wall. Sealing the optical engine behind an all-glass lens keeps dust off the internals and, Xiaomi claims, sharpens the picture 10% over last year’s model. Both features used to be premium-tier boasts.

Temper expectations on brightness before you get excited. 1,000 CVIA lumens converts to roughly 700 ISO lumens, which puts this firmly in dim-room territory rather than sunlit-living-room territory. CVIA is a stricter Chinese standard than the fantasy figures printed on Amazon listings, where anonymous brands promise 10,000 lumens and deliver maybe 150. So the number is honest, and the honest number is modest. You will still be drawing the curtains.

The catch arrives at the end, as it always does with Redmi hardware. Xiaomi has said nothing about a global release, and Redmi projectors historically stay inside China while the Xiaomi-branded models travel. It runs HyperConnect and the XiaoAI assistant, meaning no Google TV, no Play Store, and no Netflix app. A projector that costs less than a year of Netflix and cannot run Netflix is the funniest possible ending to this story, and also the most frustrating one, because the rest of us are still shopping in a bracket that peaked at 250 lumens.

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Nothing killed the Glyph Interface. This Teenage Engineering synth concept argues that was a mistake

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Nothing spent three phone generations convincing us that a few light strips on the back of a device counted as a personality. The Glyph Interface was the whole brand in one gesture, a Morse code of notifications you could read with the phone face-down on a bar table. Then Phone (3) arrived in July 2025 with the Glyph Matrix instead, a small dot matrix circle tucked in the corner, and the comment sections held a funeral. “NO GLYPH” became the shortest and angriest review of the year. Which makes it pretty funny that the most convincing argument for reviving that light language has come from a fan concept for a synthesizer.

Abdelrahman Shaapan’s Mini OP-3 wraps a semi-transparent rear panel around a compact synth, with LED effects and dynamic graphics that pulse along to whatever you’re playing. Flip it over and the front is pure Teenage Engineering, a clamshell with a touchscreen lid and a control deck of encoders, transport keys, numbered pattern buttons, and one red COPY key doing a lot of emotional labor. Shaapan calls the project an exercise in translating the design DNA of both brands into a single object. He also added a charm attachment point on the screen corner, because it is 2026 and everything needs a little guy hanging off it. The pitch is a smaller OP that keeps you off your laptop during production and live sets.

Designer: Abdelrahman Shaapan

Ten function keys run across the top of the deck, covering waveform and tape banks, sync, split, copy, paste, metronome, scissors, monitoring, and loop. Below them sit eight encoders arranged in a greyscale gradient from black to white, which is the single most OP-1 gesture available to any designer working in this language. A transport row follows with record, play, and numbered pattern keys, then a modifier row carrying shift, divide, ramp, and a random button. The hinge hides a perforated speaker band, and the front edge packs two USB-C ports beside four 3.5mm jacks. Every control is round, tactile, and spaced like it expects to be hit fast in a dark room.

Nothing built its identity on light as an interface, then retired it on the Phone (3) in favour of a dot matrix that most owners still describe as a downgrade. Shaapan’s rear panel puts that language back to work, running LED effects and dynamic graphics that respond to your audio in real time. On a phone, reactive lighting was always slightly decorative, a party trick for incoming calls and little else. On an instrument, it has an actual job, giving you a visual read on your track from across a stage or a crowded studio. Relocating the Glyph to the one product category where it earns its keep is a sharper piece of brand analysis than most fan concepts manage.

Shaapan rendered the whole thing in KeyShot. The soft-touch black body, the subtle sheen on the encoder caps, and that partially translucent rear panel with internals showing through all read as convincingly manufacturable rather than aspirational. The charm attachment point is the detail I keep coming back to, since TE has always sold straps and cases as identity objects and phone charms are having a genuine cultural moment. We covered a Teenage Engineering DJ console concept a couple of years back, and this one clears that bar comfortably. The presentation is good enough to be mistaken for a leak.

One thing undercuts the pitch. Shaapan says the goal was minimizing laptop dependence, but three renders show Ableton Live running on the touchscreen, which means the device became a laptop instead of replacing one. Ableton’s own Push 3 already solves the standalone problem and charges around two thousand dollars for it. That gap between the stated intent and the renders is the part a real product team would have to close first. Everything else here, though, is a better Nothing product than Nothing’s last one.

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Michelangelo’s iconic David bust gets recreated in LEGO, turning plastic into sculpted marble

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If you ever took a drawing class, you have met this face. Art schools spent about two centuries buying plaster casts of David’s head and parking them on shelves so students could sit there for six hours learning to render a nostril. The Victoria and Albert Museum owns a full size cast of the whole statue, and famously kept a plaster fig leaf on standby in case Queen Victoria dropped by and needed the shock absorbed. So David has been getting copied, shrunk, cast, and occasionally censored for a very long time. Turning him into a toy is not the sacrilege it sounds like. It’s basically the family business.

Which brings us to Ysien, a LEGO Ideas builder who decided the next material in that lineage should be ABS plastic. The build renders David’s head, neck, shoulders and upper chest as a classical bust, entirely in white, sitting on a proper stepped pedestal. No color, no minifigure, no cheeky accessories. Just light and shadow doing all the work, exactly like the plaster casts it descends from.

Designer: Ysien

The hair is the whole reason this MOC (My Own Creation) works. Hair is where sculptors get found out, because faces have anatomy underneath that you can reason your way through, while hair is a mass of overlapping nothing that somehow has to read as soft. Michelangelo’s answer was a tangle of deep drilled curls. Ysien’s answer is a genuinely absurd stack of curved slopes and half arch elements layered at varying depths, so each curl throws its own little shadow instead of flattening into texture. “The hair was one of the greatest challenges, with each curl contributing to the overall silhouette, depth, rhythm, and movement,” he says, which is a very polite way of describing what must have been several evenings of quiet suffering.

My favorite decision, though, is that the seams stay visible. Ysien could have chased a smooth marble finish and lost, because bricks do not do smooth. Instead he let the geometry become part of the sculpture, so the thing reads as a portrait from across the room and as unmistakable LEGO up close. The eyes get a similar treatment, built from inverted round elements that give David that vacant classical stare, which is a nice accident given the real statue has heart shaped pupils drilled into it. Monochrome white does the rest, forcing every bit of the anatomy to be described by shadow alone. There’s no piece count listed yet, although I wouldn’t be surprised if it was in the high hundreds.

Ysien’s David is currently sitting at just over 400 supporters with 424 days on the clock, which means there is a long road to the 10,000 votes that trigger an official LEGO review. LEGO Ideas is where fan builds get their shot at becoming retail sets, and this one deserves a look. The only thing I’d add is a black variant, because a basalt David would be an absolute menace on a shelf. You can head to the LEGO Ideas page and cast your vote!

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Michelangelo’s iconic David bust gets recreated in LEGO, turning plastic into sculpted marble

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If you ever took a drawing class, you have met this face. Art schools spent about two centuries buying plaster casts of David’s head and parking them on shelves so students could sit there for six hours learning to render a nostril. The Victoria and Albert Museum owns a full size cast of the whole statue, and famously kept a plaster fig leaf on standby in case Queen Victoria dropped by and needed the shock absorbed. So David has been getting copied, shrunk, cast, and occasionally censored for a very long time. Turning him into a toy is not the sacrilege it sounds like. It’s basically the family business.

Which brings us to Ysien, a LEGO Ideas builder who decided the next material in that lineage should be ABS plastic. The build renders David’s head, neck, shoulders and upper chest as a classical bust, entirely in white, sitting on a proper stepped pedestal. No color, no minifigure, no cheeky accessories. Just light and shadow doing all the work, exactly like the plaster casts it descends from.

Designer: Ysien

The hair is the whole reason this MOC (My Own Creation) works. Hair is where sculptors get found out, because faces have anatomy underneath that you can reason your way through, while hair is a mass of overlapping nothing that somehow has to read as soft. Michelangelo’s answer was a tangle of deep drilled curls. Ysien’s answer is a genuinely absurd stack of curved slopes and half arch elements layered at varying depths, so each curl throws its own little shadow instead of flattening into texture. “The hair was one of the greatest challenges, with each curl contributing to the overall silhouette, depth, rhythm, and movement,” he says, which is a very polite way of describing what must have been several evenings of quiet suffering.

My favorite decision, though, is that the seams stay visible. Ysien could have chased a smooth marble finish and lost, because bricks do not do smooth. Instead he let the geometry become part of the sculpture, so the thing reads as a portrait from across the room and as unmistakable LEGO up close. The eyes get a similar treatment, built from inverted round elements that give David that vacant classical stare, which is a nice accident given the real statue has heart shaped pupils drilled into it. Monochrome white does the rest, forcing every bit of the anatomy to be described by shadow alone. There’s no piece count listed yet, although I wouldn’t be surprised if it was in the high hundreds.

Ysien’s David is currently sitting at just over 400 supporters with 424 days on the clock, which means there is a long road to the 10,000 votes that trigger an official LEGO review. LEGO Ideas is where fan builds get their shot at becoming retail sets, and this one deserves a look. The only thing I’d add is a black variant, because a basalt David would be an absolute menace on a shelf. You can head to the LEGO Ideas page and cast your vote!

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Ross Lovegrove’s Hi-Fi Speakers Look Like River Pebbles, Stream 384 kHz Audio

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Ross Lovegrove has spent his whole career convinced that nature already nailed industrial design and humans are just slow to catch up. His portfolio backs it up fast. The Ty Nant water bottle looks like a puddle caught mid freeze. The DNA Staircase he built for the Belgian Pavilion at Shanghai Expo 2010 spirals like an actual double helix. His Go Chair for Bernhardt Design curves like it was grown in a lab rather than welded together in a factory. Give the guy a chair, a bottle, a staircase, anything, and he finds the organic shape hiding inside it. Speakers are trickier though, since somewhere inside all that flowing curvature you still need drivers, amplifiers, and wiring that behaves itself.

KEF’s new LS LUXE is Lovegrove’s answer, and it is a genuinely convincing one. Picture two smooth pebbles sitting on your shelf, the kind you would find polished at the bottom of a river, except one of them has a gold driver staring back at you like a tiny mechanical flower. The cabinet skips every straight edge in favor of that rounded, water worn shape, finished in shades like Mineral White and Eclipse Black. Spec wise, you get 380 watts of amplification and network streaming up to 384 kHz, all packed into a form that reads more like sculpture than stereo gear. It launched in Asia Pacific at 4,910 US dollars a pair, with US availability and pricing still to come.

Designer: Ross Lovegrove for KEF

Inside that pebble shaped shell sits KEF’s 12th generation Uni-Q driver array, a 165 mm aluminium cone wrapped around a 25 mm dome tweeter that fires from the exact same point in space. That single point origin is why Uni-Q speakers spread sound evenly instead of beaming it at whoever grabbed the best seat. Behind the driver, KEF’s Metamaterial Absorption Technology claims to soak up 99 percent of unwanted rear sound, the same maze like structure found in flagship lines like the Blade. Two amplifiers split the work, 280 watts for the lows and mids, 100 watts for the highs. That is serious firepower for something the size of a grapefruit.

The rear ripples with vertical ribbing like sand under shallow water, broken only by an oval bass port and a connections panel etched with Lovegrove’s own signature. That same engineering ambition carries over to VECO, KEF’s new Velocity Control Technology, debuting here in a wireless speaker for the first time. VECO uses motion sensing feedback to catch distortion and power compression before they turn audible, letting the speaker correct itself in real time rather than waiting for you to notice something is off. Network streaming tops out at 384 kHz, with AirPlay, Chromecast, Bluetooth, and Tidal, Qobuz, and Spotify Connect built in. Roon support is coming too, just not until 2027.

Dusk Titanium, Eclipse Black, and Mineral White are the three finishes on offer, and KEF ties each one back to cymatics, the way sound visibly ripples across a surface, which is a bit much on paper but looks genuinely premium in person. A pair runs 6,299 Singapore dollars, about 4,910 US dollars, with the launch limited to Asia Pacific for now. The US page is live for early access through myKEF membership, though American pricing has not landed yet. Twenty kilos a pair also means double checking that shelf before committing. KEF is betting people will pay a premium for a speaker that looks like it belongs in a gallery instead of a media console.

KEF tried this design forward approach before with the LS50 Wireless II, and the LS LUXE feels like that idea with the leash finally taken off. Where the LS50 stayed rounded but fairly conventional, Lovegrove pushed KEF into a shape that competes with furniture for shelf space instead of hiding next to it. The real test is whether that sculptural ambition holds up once these sit in an actual living room instead of a studio render, since renders always flatter reality. At 4,910 dollars a pair, this is priced for people who already care about hi-fi and design in equal measure, not newcomers to either. Lovegrove has spent a career getting objects into museums. Whether the LS LUXE joins them or just earns a very nice shelf, KEF has made sure nobody mistakes it for furniture nobody asked for.

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Every single curve on this coffee dripper has a job, from preserving heat to guiding flow

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Most coffee nerds can tell you the difference between a bean from Colombia and one from Ghana, or even one from Brazil, without hesitation. Some are arabica, some robusta, some carry caramel notes while others lean fruity, some taste gentler thanks to high-altitude growing conditions, while others pick up the character of the soil they’re grown in. Most coffee nerds can taste the difference between two cups brewed with two different beans. What they usually can’t do at a glance is look at two pour-over drippers and instantly tell how each design shapes the brewing process and, ultimately, the flavor in the cup. They obsess over coffee, and sometimes maybe even the device they brew the coffee in, but not everyone can identify the hidden engineering details that make your coffee maker do its job consistently.

The fun part is that JUNE wears all that engineering incredibly well. It has the clean, almost gallery-like silhouette of a countertop design object you’d actually want to leave out, but every part of that shape is secretly working double duty. The dual-wall vacuum body is there to stop heat from escaping mid-brew, the ceramic-coated interior keeps your coffee tasting like coffee instead of metal, and the 12 internal ribs are designed to manage filter contact and airflow with a surprising amount of precision. It’s the kind of thoughtful design that makes you realize some drippers are basically just bowls with ambition, hoping for the best. JUNE, on the other hand, tries to account for every unknown variable, make it known, and then control it obsessively to ensure that your brew is consistent to the point where it feels like science meets art meets coffee.

Designer: Shelbru

Click Here to Buy Now: $63 $99 (37% off). Hurry, only a few left!

Temperature is the variable most pour-over gear quietly ignores. Glass, ceramic, and single-wall steel drippers all absorb heat from brewing water rapidly, sometimes dropping the temperature by as much as 15-20°C in the first thirty seconds of a brew, which changes how compounds extract from the grounds and ultimately changes what ends up in the cup. Most people never realize it’s happening because the result is just a slightly flatter, slightly less interesting version of what the coffee could have been. JUNE’s double-wall vacuum structure builds a thermal barrier directly into the dripper itself, maintaining a more stable brewing environment from bloom to drawdown. Shelbru’s own testing showed JUNE holding within roughly 1-2°C of its starting brew temperature over four minutes, while glass and metal competitors dropped far more aggressively. The practical payoff is straightforward: you can dial in a recipe and actually repeat it, which sounds obvious but is genuinely harder than it should be with conventional gear.

The 12 concave ribs inside JUNE are doing more brewing work than they look like. Their primary job is holding the paper filter flush against the dripper wall, which reduces the gap through which water can slip around the coffee bed instead of through it, a problem that quietly leads to under-extracted, uneven cups. Between each rib, recessed air channels let pressure escape smoothly as water flows down, helping maintain a steadier, more controlled drawdown from start to finish. Then there’s the Aroma Flow outlet at the base, which centers and stabilizes the coffee stream as it exits the dripper, pointing it precisely where it needs to land. For people using a standard server, that’s a nice quality-of-life detail. For people pairing JUNE with ICOSA’s Avensi Cyclone, it becomes the entire point.

JUNE’s Aroma Flow outlet was designed with a specific destination in mind, and the Shelbru x ICOSA Avensi Cyclone is it. The Cyclone is a borosilicate glass sensory carafe featuring a raised Aroma Peak at its center, a form inspired by high-end wine decanters, which coffee cascades over as it drips from JUNE’s outlet, diffusing and magnifying aromatics into the air as it does. The Avensi Alto tasting cup extends that philosophy further, with an hourglass form and Aeration Waves geometry that amplify the aromatic complexity of each sip. Both pieces are handcrafted from borosilicate glass and designed to stack cleanly for storage. Together they push the serving and tasting half of the pour-over ritual well past what a standard mug typically offers.

The Shelbru Smart Canister handles everything that happens before the kettle even comes out. It’s a vacuum-sealed bean storage container with an automated pressure sensor that monitors internal conditions and reactivates vacuuming whenever pressure drops below -20 kPa, keeping beans in a stable, low-oxygen environment without any manual effort on your part. Press once to seal, press again to open, and the canister takes care of the rest. It holds 250 to 300 grams of roasted coffee, runs on a 1,500 mAh battery rated for around 4,000 hours of standby, and charges fully in three hours. For anyone who has bought genuinely excellent beans and then watched them go stale in a poorly sealed bag, this is the container that fixes that specific, recurring regret.

Swapping JUNE’s silicone base for a Hario Switch converts the entire setup to immersion brewing in seconds, giving you a different extraction profile from the same dripper body without buying a second piece of equipment. Pairing JUNE with Nucleus Paragon opens up rapid cooling and temperature-controlled experiments for brewers who want to get more technical about what’s in the cup. The detachable base makes JUNE feel like a platform rather than a fixed tool, one that grows with how seriously you decide to take this whole thing. For casual daily brewers, this is context they may never need. For the kind of person who already owns a precision kettle and a gram scale, this is where JUNE gets very interesting very fast.

JUNE starts at $63 for the single dripper, with the Fresh Brew Bundle pairing JUNE with the Smart Canister at $103. The Complete Aroma System, which brings together JUNE, the Avensi Cyclone, the Avensi Alto, and the Smart Canister, covers the full pour-over journey from bean storage to brewing to serving to tasting, and is priced at $137. Yanko Design readers get an exclusive deal on that Complete Aroma System at $135, against an MSRP of $235. The Cold Brew Bundle, which includes the Shelbru Brewer, Carafe, and Smart Canister, comes in at $83. Mass production is already underway with delivery expected in September 2026, and full details are available on the Kickstarter page below

Click Here to Buy Now: $63 $99 (37% off). Hurry, only a few left!

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