These $90 Cover Plates turn your PS5 into an Xbox-ish Monolith with much better thermals

We called the PS5 the most beautiful console in the world on reveal day in 2020, and I still mostly mean it. Yujin Morisawa’s shell is a bold piece of industrial design, a vertical monolith with two floating wings that looks like nothing else in the category. Bold monoliths have one correct orientation, though, and living rooms have shelves. Tip the thing sideways and the composition falls apart, because the asymmetry that reads as dynamic standing up reads as tipped over lying down. Devyn Johnston, a PC modder whose YouTube channel runs on small form factor builds, decided to answer that with tooling instead of opinions.

His BoxPlates are aftermarket cover plates that clip on exactly where Sony’s official ones go, replacing the console’s compound curves with orthogonal geometry and crisp corners. A dense linear rib pattern runs across the top face, hides a vent sitting directly above the fan, wraps the corners and continues down the sides. Johnston sank more than $100,000 into custom injection mold tooling so the parts come out of the same process Sony uses for controllers and first-party plates. Sets cost $89.99 in black, gray, white and black, or gray and black, and cover five of the six PS5 variants. The original Digital Edition is the one still waiting.

Designer: Devyn Johnston

Here is the part that might have aged like milk. That same 2020 article of ours took a swing at the Xbox Series X for being bulky, blockish and air-purifier-like, and the fix the internet has now rallied behind is, functionally, a box. Johnston admits the first prototype drew loose inspiration from the Xbox One S before he redrew it as an original design for intellectual property and manufacturability reasons. The finished plates land somewhere between an Xbox One S and a mini ITX case, which is more flattering than it sounds, because both of those objects understood that a home entertainment product should look calm sitting next to a soundbar. Sony built a trophy. Johnston built an appliance.

Getting there took considerably more work than sanding down a silhouette. The PS5’s surfacing is full of subtle compound curvature that had to be reverse-engineered before anything could be drawn over it, and Johnston then spent iterations correcting alignment, killing the tilt and straightening angles while staying inside the console’s internal mechanical constraints. Injection molding is what separates this from the 3D-printed shells cluttering Etsy, since it buys tight tolerances, sharp corners and a light matte texture that a printed part can only approximate. The clips are the clever compromise. They stay 3D printed in PETG with thick walls and solid infill under each snap, which means a worn clip costs you a small replacement part rather than the whole shell.

That blockish design actually ends up providing better thermals than Sony’s own design, which is kind of ironic. Sony’s plates block direct access to the side intakes and route air around the top of the front face, with plastic rails near the fan holding everything in shape. Johnston’s plates leave the side vents fully exposed and add that extra opening above the fan, which is the opposite philosophy. He ran God of War Ragnarok for over two hours on a PS5 Pro with stock plates and then with his own, and found centre temperatures unchanged while the surface and rear exhaust ran noticeably cooler. He is careful to call this unscientific, with no internal monitoring comparable to a PC, and I would treat it as a pleasant side effect rather than a thermal upgrade.

Sony’s official vertical stand will not work with BoxPlates, though the console does stand on its own without it, and the plates raise a real question about servicing, since the PS5’s side panels were designed to come off easily so you can vacuum dust out of the intakes. Johnston says installation is tool-free and completely reversible, which covers it, but anyone who has owned a console for five years knows dust is the actual long-term enemy. Johnston hasn’t confirmed whether the shells are ABS or polycarbonate either. At $89.99 on top of a console you already bought, this is enthusiast money for an aesthetic problem.

That problem has clearly been real for six years. YD’s archive is full of people trying to fix it, from Riccardo Breccia’s Discman-inspired reinterpretation to Alexandre Touguet’s all-black homage to the original PlayStation and Ismail Mits’ geometric Sony-meets-Microsoft concept. Those were renders. This one has a Shopify page, a final production batch for 2026 currently shipping in five to seven business days, and a tooling invoice that would make most design studios flinch. Renders argue with a design. Tooling overrules it.

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Old Nike sneakers are getting shredded and recycled into sustainable gym flooring

Every sneaker eventually dies, and most of them die badly, tossed into a landfill where the rubber outsole will outlive everyone who ever wore it. Nike has spent over three decades trying to intercept that fate with Reuse-A-Shoe, a program that grinds old kicks and factory scraps into a material called Nike Grind. What started as a scrappy basketball court test at a Nike facility in Oregon has since gone into more than a billion square feet of sport surfaces worldwide. Now it has landed somewhere I did not expect, as commercial flooring backed by the largest flooring manufacturer on the planet. Mohawk Group just folded a small Nike Grind partner called Hero Flooring into its lineup, and the headline product is called Hero Rubber made with Nike Grind.

Reade Palmer, a former rower, founded Hero Flooring (now part of Mohawk Group) in 2014 and spent years pitching Nike before landing an official partnership in 2020. The result is a rubber flooring program built entirely around the size of the recycled granule, with three current styles called Original, Vitality, and Axis. Original uses the finest Nike Grind for a tight uniform speckle, Vitality blends two granule sizes for a terrazzo effect, and Axis goes bold with visible sneaker outsole chunks. All three ship in 17 colorways, skip recycled tires (so no tire odor, a real complaint with rival rubber floors), and carry FloorScore and Declare Red List Free certification. It has already won recognition from the AZ Awards, HiP Awards, and Best of NeoCon, and now rides Mohawk’s distribution into design firms nationwide.

Designer: Reade Palmer (Mohawk Group)

A big chunk of the shoes feeding Nike Grind come from drop bins sitting inside actual Nike stores, which means this floor started life as somebody’s actual Nikes. Grind them up, press them flat, install them in a gym, and now you have got people in fresh Nikes squatting and sprinting on top of dead Nikes. Old shoe, new shoe, same brand, same square footage, closing the loop in the most on-the-nose way possible. I keep picturing some guy doing burpees completely unaware he is standing on last year’s Pegasus.

The three styles are basically the same trick shot at three different zoom levels. Original is the tightest and calmest of the bunch, a fine confetti speckle that would not look out of place in an office lobby that does not want to shout about being made from garbage. Vitality loosens the grain up, mixing two granule sizes so it starts looking like actual stone terrazzo instead of a printed knockoff of it. Axis is the one that goes for broke, with chunks big enough that you can actually clock they used to be a shoe sole. It is basically the difference between whispering “recycled” and yelling it, and I respect that all three options exist under one roof.

Axis is rated for actual athletic use under ASTM F2772, with an energy restitution score of 87.3 percent, meaning it eats a chunk of the impact when you drop a barbell instead of letting your knees eat it instead. Every style skips crumb rubber entirely, which matters more than it sounds like it should, because regular rubber gym flooring made from old tires smells like, well, old tires. Add FloorScore certification, a Declare Red List Free label, and a verified environmental report card, and you have got a floor that is doing its homework. The one thing I could not dig up anywhere, not on Mohawk’s site and not on Architizer, is a price. So budget for a phone call to a rep before you fall in love.

What I like most here is that this floor is not embarrassed about where it came from. Most recycled flooring tries to hide the recycled part, smoothing everything into a boring gray so nobody clocks the backstory. Hero Rubber does the opposite, letting actual shoe chunks sit right there on the surface for anyone paying attention. You show up to lift, you are standing on somebody else’s old kicks, wearing your own current pair, and the floor does not let you forget it. That is a better sustainability pitch than most brands manage with an entire ad campaign.

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5 Things Samsung’s Galaxy Z Fold8 Does Better Than Apple’s iPhone Duo

Samsung Galaxy Z Fold8 vs. Apple iPhone Duo

Apple’s first foldable was always going to be a spectacle, and the iPhone Duo delivered. Titanium frame, a hinge built from over 100 components, a 7.6-inch inner display Apple calls the largest and sharpest they’ve ever shipped, and an IP68 rating that no current Samsung foldable can match. The debut made a strong case, and we laid out five specific things it got right in our companion piece last week, which predictably sent a portion of the comments section into a very productive Saturday. Every honest design audit has a flip side, though. The iPhone Duo, for all its first-generation confidence, left a meaningful number of things unresolved, and some of those gaps are more significant than launch-week coverage has made them seem.

Samsung has been folding phones since 2019, and the Galaxy Z Fold8 is what that long runway looks like after years of hinge tweaks, crease complaints, software refinements, and repeated attempts to make a folding phone feel normal. It does not win every category, and Apple absolutely deserves credit for solving a few long-standing foldable annoyances on its first try. Even so, there are still several places where Samsung’s latest Fold feels more complete, more practical, or simply better thought through as an everyday device. Some are obvious the moment you compare the two side by side. Others only start to matter after the honeymoon phase wears off.

Keeps the SIM Tray, Despite What Anyone Says

Samsung Galaxy Z Fold8 SIM Tray

When we covered the iPhone Duo’s announcement, one of the hardware elements Apple dropped was the physical SIM tray, a decision the company framed as part of a broader design simplification agenda. Apple went full eSIM, keeping the chassis cleaner, eliminating a cut line in the frame, and folding the decision into the same purity narrative behind the iPhone Air’s extreme thinness. For users in markets where eSIM support is solid and carrier switching is painless, this is genuinely fine and probably the right long-term direction. The problem is that a $1,999 foldable probably should not be making hardware convenience trade-offs that actively complicate life for international travelers, anyone running two numbers, or users whose carriers still make eSIM provisioning feel like homework.

Traveling internationally and swapping to a local carrier SIM is a very different experience when you are not navigating eSIM setup through a foreign carrier’s app on spotty airport WiFi. The Z Fold8 keeps the physical SIM tray, and that decision is more forgiving than it is glamorous. Moving a number between devices is faster with a tray, carrier flexibility requires fewer account management steps, and the hardware workaround for eSIM friction simply does not exist. Samsung is not winning any design philosophy debates by pointing at a metal drawer. But the Fold 8’s willingness to keep that hardware in place reflects a different set of priorities than Apple’s, one that bets user convenience should edge out aesthetic reduction, and across a wider range of real-world situations, that bet holds up.

Weighs Noticeably Less Over a Full Day (53 Grams Less, to be precise)

The Galaxy Z Fold8 weighs 201 grams, which is the figure Samsung’s product page leads with, and it earns the emphasis because it makes the Fold 8 the lightest book-style foldable currently on the market. The iPhone Duo comes in at 254 grams. At a 53-gram gap, the difference sits closer to a full AA battery than a rounding error, and the foldable category is already asking more of you than a standard slab phone before the weight conversation even starts. Foldables are physically larger, structurally more complex, and thicker in the pocket by default. Stacking substantial extra mass on top of all that is a real ask, and the Duo makes it.

Apple’s grade 5 titanium frame and hinge housing are premium materials decisions that contribute directly to the device’s rigidity and structural confidence, and directly to its number on the scale as well. Samsung came in lighter, and that shows up in the most boring and most honest way possible, in how aware you are of the phone in your pocket across a full day. A lighter foldable is a foldable that has had more generations of mass reduction applied to it, and the Fold 8’s 201 grams is the current best result of that sustained process. The Duo’s weight is a first-generation structural reality, and Samsung simply has more iterations of solving those demands behind it.

Folds Thinner for Better Pocket-ability

The Galaxy Z Fold8 closes to 9.7mm. The iPhone Duo closes to 11.3mm. The 1.6mm gap sounds mild, and it lands less mildly in a pocket, because the book-style form factor makes closed thickness something you register physically every time the phone goes in or out of a pocket, gets set on a desk, or is gripped shut in one hand. Small dimensional differences accumulate across hundreds of daily interactions in a way that flat spec comparisons do not fully communicate. 9.7mm versus 11.3mm is a material gap in this context, not a footnote.

Opened flat, the Fold 8 measures 4.5mm against the Duo’s 5.2mm. Apple tried hard on the thinness front, and for a first-generation foldable carrying a dual-battery system and a 100-plus component hinge, 5.2mm open is legitimately impressive engineering. Samsung just has more attempts behind it. Years of shaving fractions of a millimeter off the Fold form factor across successive generations produce gains that compound, and the Fold 8’s dimensional figures are the accumulated result of that process. The Duo is not there yet, and that is a first-generation reality rather than a permanent condition.

A More Refined, Battle-tested Multitasking Software

The Taskbar on the Z Fold8 holds eight app slots, and dragging any one of them into a running screen split takes a single gesture rather than a full trip back to the home screen. App Pairs let users save specific two-app workflows and relaunch them together in a single tap. Three-way split-screen and floating pop-up windows give the inner display real workspace flexibility, while AI Results View places AI output in a separate panel so source content stays visible alongside it rather than disappearing behind the response. These features are specific because the problems they solve are specific, and that specificity usually means someone already ran into that friction point on an earlier Fold and the feedback made it into the next build.

Apple’s Duo software looks like a genuinely strong first draft, and side-by-side multitasking on a 7.6-inch inner display is a compelling foundation for what iOS on a foldable can eventually become. What it does not yet carry is the institutional knowledge that comes from shipping foldable hardware in volume for years and learning where real users find the edges of the experience. Samsung knows, from behavioral patterns observed across the Fold 3 through Fold 7, that people using a foldable for actual work want to move windows around without returning to the launcher constantly. Apple will develop that understanding across future software generations. Samsung already developed it, and the current One UI reflects that directly.

The Hinge Comes From Eight Generations of Experimenting

Samsung Galaxy Z Fold8 Hinge Close-up

The Z Fold8 moves to a dual-rail hinge design, where two parallel contact rails distribute fold stress more evenly across the display than the single-rail approach used through the Fold 7. The practical payoffs are reduced delamination risk over long-term use and a 0.6mm reduction in folded thickness compared to last year’s model. The dual-rail architecture exists because the single-rail design produced failure patterns in field data, and Samsung engineered the fix after watching those problems accumulate at scale. Samsung rates the updated hinge at 200,000 fold cycles, which works out to roughly 7 to 10 years of daily use at realistic fold rates, a number that carries credibility specifically because Samsung has the service history to know what foldable hinge failure actually looks like.

Apple’s hinge uses over 100 components including carbon fiber support plates, a grade 5 titanium housing, and an integrated magnet array for closure, and for a first-generation attempt from a company with no prior foldable track record, it is a serious piece of engineering. What it does not have is field history, and in a category where the hinge is the single most consequential mechanical component, field history is what separates a confident launch spec from a genuinely proven design. Samsung’s dual-rail approach did not emerge from a thought experiment. It came from hinge failures, teardown data, warranty claims, and years of iterative engineering against failure modes that only reveal themselves after real-world shipping at volume. Apple’s Duo hinge may age beautifully. Samsung’s already has.

The post 5 Things Samsung’s Galaxy Z Fold8 Does Better Than Apple’s iPhone Duo first appeared on Yanko Design.

Someone Designed India’s Humble Tuk-Tuk As A Modern-day Renault-style Mini EV

The Tuk-tuk, also called the ‘Auto Rickshaw’ in South Asia, actually comes from Italy! The original three-wheeled vehicle was manufactured by Piaggio and popularized in the continent under the model name Apé before other brands caught on. The vehicular category is now an unshakeable part of Indian automotive culture. In its regular form, the Auto Rickshaw (as opposed to the hand-pulled carts called Rickshaws) is a mode of public transport, seating up to three people at the back. Swap the back seat out for a truck bed and the Auto Rickshaw becomes a transport vehicle for all sorts of cargo, from furniture to fresh produce. The only problem with the Auto Rickshaw is that it hasn’t fundamentally changed in its aesthetic in decades. Carbon Noir proposes an alternative.

Dubbed the ‘Cyberpunk 2077 Auto Rickshaw’, this concept vehicle has a few changes on and under the hood. For starters, it comes with an electric powertrain, making it way more energy efficient than the fuel and CNG guzzling autos you see on Indian roads. Secondly, the exterior gets an absolute makeover, which I have mixed feelings on.

Designer: Carbon Noir

There’s a lot to appreciate about the makeover – you’ve got modernized headlights and taillights, an actual hardbody design that isn’t a metal armature roof with fabric pulled over it, and an aesthetic that feels very Renault Twizy but dialed back. The only real problem (and this is entirely in my head) is the dual-tone design, which gives the E-tuk (electric tuk-tuk) the stature and vibe of the Fisher Price toy car, but with a green base. That’s quite literally the only gripe I have. Ditch the two-tone and you have a winner on your hands.

The E-tuk sports a few interesting design details. It contains a usable boot, which most auto rickshaws don’t have. The conventional auto rickshaw packs the engine in the back, but one can assume that an electrified platform frees the boot up, letting people store luggage inside. Speaking of inside, the interiors see a pretty remarkable change too. The original auto rickshaw seats one in the cockpit, and 2-3 at the back. This revised model opts for a traditional 2×2 seating structure, while retaining the handlebar controls instead of swapping it for a steering wheel. Spiritually, this still feels like an auto rickshaw.

Like most auto rickshaws in India, the E-tuk sports doors on the left side of the vehicle, leaving the right bare. A mere bar on the right side blocks passengers in the back from falling off (or jumping out of a moving ride), but the front still lets the driver enter and exit freely. For riders, entry and exit happens purely through the left, using the doors on both the front as well as the back.

Like I said, spiritually, this is still the quintessential Auto Rickshaw. That two-tone design is iconic, although it serves no purpose here since the green-bottom Auto Rickshaws are painted to denote that they run on Compressed Natural Gas and not petrol. The handlebars for the auto-rider are iconic too, and an open-side design means accepting the weather the city gives you – sun on hot days, wind on good days, and dust or rain on bad days. That’s the non-verbal contract you sign when you sit in an ‘auto’. Yeah, and sure the thing is powered by an electric drivetrain, but that doesn’t mean we’re getting in-vehicle air-conditioning anytime soon!

The post Someone Designed India’s Humble Tuk-Tuk As A Modern-day Renault-style Mini EV first appeared on Yanko Design.

Someone Designed India’s Humble Tuk-Tuk As A Modern-day Renault-style Mini EV

The Tuk-tuk, also called the ‘Auto Rickshaw’ in South Asia, actually comes from Italy! The original three-wheeled vehicle was manufactured by Piaggio and popularized in the continent under the model name Apé before other brands caught on. The vehicular category is now an unshakeable part of Indian automotive culture. In its regular form, the Auto Rickshaw (as opposed to the hand-pulled carts called Rickshaws) is a mode of public transport, seating up to three people at the back. Swap the back seat out for a truck bed and the Auto Rickshaw becomes a transport vehicle for all sorts of cargo, from furniture to fresh produce. The only problem with the Auto Rickshaw is that it hasn’t fundamentally changed in its aesthetic in decades. Carbon Noir proposes an alternative.

Dubbed the ‘Cyberpunk 2077 Auto Rickshaw’, this concept vehicle has a few changes on and under the hood. For starters, it comes with an electric powertrain, making it way more energy efficient than the fuel and CNG guzzling autos you see on Indian roads. Secondly, the exterior gets an absolute makeover, which I have mixed feelings on.

Designer: Carbon Noir

There’s a lot to appreciate about the makeover – you’ve got modernized headlights and taillights, an actual hardbody design that isn’t a metal armature roof with fabric pulled over it, and an aesthetic that feels very Renault Twizy but dialed back. The only real problem (and this is entirely in my head) is the dual-tone design, which gives the E-tuk (electric tuk-tuk) the stature and vibe of the Fisher Price toy car, but with a green base. That’s quite literally the only gripe I have. Ditch the two-tone and you have a winner on your hands.

The E-tuk sports a few interesting design details. It contains a usable boot, which most auto rickshaws don’t have. The conventional auto rickshaw packs the engine in the back, but one can assume that an electrified platform frees the boot up, letting people store luggage inside. Speaking of inside, the interiors see a pretty remarkable change too. The original auto rickshaw seats one in the cockpit, and 2-3 at the back. This revised model opts for a traditional 2×2 seating structure, while retaining the handlebar controls instead of swapping it for a steering wheel. Spiritually, this still feels like an auto rickshaw.

Like most auto rickshaws in India, the E-tuk sports doors on the left side of the vehicle, leaving the right bare. A mere bar on the right side blocks passengers in the back from falling off (or jumping out of a moving ride), but the front still lets the driver enter and exit freely. For riders, entry and exit happens purely through the left, using the doors on both the front as well as the back.

Like I said, spiritually, this is still the quintessential Auto Rickshaw. That two-tone design is iconic, although it serves no purpose here since the green-bottom Auto Rickshaws are painted to denote that they run on Compressed Natural Gas and not petrol. The handlebars for the auto-rider are iconic too, and an open-side design means accepting the weather the city gives you – sun on hot days, wind on good days, and dust or rain on bad days. That’s the non-verbal contract you sign when you sit in an ‘auto’. Yeah, and sure the thing is powered by an electric drivetrain, but that doesn’t mean we’re getting in-vehicle air-conditioning anytime soon!

The post Someone Designed India’s Humble Tuk-Tuk As A Modern-day Renault-style Mini EV first appeared on Yanko Design.

Flashlights Usually Don’t Have Personalities, Olight’s Oclip 2 Ultra Kind of Does

Flashlights do not usually have personalities. They turn on, they turn off, and that is the extent of the relationship. Olight’s Oclip line has spent a couple of generations building a reputation as the clip light people actually reach for, but even loyal users had one recurring complaint. Olight surveyed over 5,200 existing Oclip owners and found that nearly 30 percent of all feedback came down to the same frustration: the light points the wrong way, and there is no fix short of unclipping everything and starting over. Clip it to a hat brim, it shines in your eyes. Clip it to a pocket, it lights up the ceiling. The beam went where the clip decided, not where you needed it.

That single fix is what the Oclip 2 Ultra is built around. A 360 degree rotating clip pairs with a 115 degree pivoting head, letting you attach the clip anywhere and aim the beam exactly where the work is, without repositioning. Both axes are rated for 10,000 test cycles, so the mechanism is built to hold rather than loosen over time. The Ultra adds an OAL aluminum body, an in-house R/UV dual emitter combining red and 365nm UV, and OclipBeat, a breathing indicator that shifts color the more the light gets used. Output lands at 580 lumens with a 130 meter throw, IP66 rated, and 2 meter drop rated. It starts at $69.99, with the Premium edition adding a 1,000 mAh charging dock for $94.99.

Designer: Olight

Click Here to Buy Now: $94.99

Elbow-deep in an engine bay with the beam pointing at a hose instead of the bolt you actually need, the old Oclip left you two options: tilt your body or unclip and start over. The Oclip 2’s dual-axis mechanism takes that off the table. The 360 degree rotating clip and 115 degree pivoting head work as independent adjustments, so you can attach the light, rotate the body upright, and tilt the head directly onto the target, all while the clip stays put. The mechanism went through hundreds of light-head optimization iterations, and the result is a head that holds its angle under consistent rotational resistance. A head that drifts after positioning defeats the whole purpose of an articulating system, and Olight clearly thought about that.

Four light sources in one body: flood, spot, or red. For even greater versatility, Oclip 2 Ultra features Olight’s industry-first, in-house-developed R/UV emitter, combining red and UV light in one compact design.. Traditional compact clip lights force a trade-off between red warning signals and UV detection, so Olight’s decision to build both into one emitter is the real technical flex here. UV output lands at up to 800 mW for quick inspections. The floodlight uses a specially designed curved light cup to produce diffuse reflection and a clean flood beam, rather than just a wide hotspot, and the spotlight throws to 130 meters at 450 lumens (the floodlight lets you hit 580 lumens). OclipBeat is the Ultra’s odd personality feature, a breathing indicator that activates when the light head rotates and shifts color based on cumulative use, delivering a unique sense of partnership on every mission; frankly not something you’d expect to find endearing in a flashlight, and yet here we are.

The clip grips objects up to 14mm thick, including collars, backpack straps, and MOLLE webbing. Magnets at the MCC tail and on the clip snap onto steel surfaces like a car hood or toolbox, making them instant mounting points without any adapter. The light can also hang overhead from a tent loop or hook, for situations where bouncing light off a ceiling works better than directing a beam. The whole system is built on the assumption that both hands should stay free, and the dual-axis head makes that viable because you can redirect the beam from wherever the light is already clipped. Three attachment modes, one articulating head, and a rotating body add up to a meaningful amount of placement flexibility in a 79.5 gram package.

USB-C, MCC magnetic charging, and the Mobile Charging Dock bundled with Premium editions give the Oclip 2 Ultra three paths to a full battery. The 1,000 mAh Mobile Charging Dock automatically tops up the light on the go, delivers up to twice the total runtime, and displays the battery levels of both the light and the dock at a glance. MCC is Olight’s proprietary magnetic connector, which snaps on without needing to locate a port in the dark. That runtime extension directly targets the 13 percent of first-gen Oclip users who flagged short battery life as their main complaint. The dock rates IPX6 while the light body holds IP66, and the combined Ultra Premium package weighs 141.5 grams with dock attached.

OAL aluminum is Olight’s proprietary alloy, high-strength and scratch-resistant, and the Ultra’s body is built from it while the clip components stay in standard AL6061. The visual difference between the two isn’t dramatic, but OAL’s scratch resistance should matter over months of daily carry where pocket wear shows up first on softer finishes. The body measures 60.2 x 28 x 35mm, and the design is 4mm smaller than the pilot-production version. IP66 protection and a 2-meter drop rating give it a durability profile that matches the automotive, outdoor, and patrol use cases Olight is targeting. The angular design language gives the Ultra a more deliberate everyday-carry presence than the utilitarian clip-light category tends to produce, and OclipBeat adds a visual layer that builds character the longer the thing stays in rotation.

The Oclip 2 series runs four SKUs: Pro ($49.99), Pro Premium ($74.99), Ultra ($69.99), and Ultra Premium ($94.99), all available now at olight.com. Premium editions at both tiers include the 1,000 mAh Mobile Charging Dock. Olight backs the lights with a lifetime warranty in Australia, China, France, Germany, and the United States, five years everywhere else, and the Mobile Charging Dock carries a separate two-year warranty.

Click Here to Buy Now: $94.99

The post Flashlights Usually Don’t Have Personalities, Olight’s Oclip 2 Ultra Kind of Does first appeared on Yanko Design.

These Oakley x Spiderman unofficial sunglasses are cooler than any smart wearable ever made

There is a piece of Spider-Man trivia that has floated around fan forums for years, the kind of claim that gets repeated so often it starts to feel like fact. The story goes that the mask eyepieces worn by Tobey Maguire and Andrew Garfield were built using actual Oakley lens material, sourced by the prop houses that made the suits. I cannot verify that, and neither, as far as I can tell, can anyone who has posted it online. It lives mostly in old Oakley collector threads, secondhand and uncredited, more urban legend than documented history. But myth or not, it is the exact reason a new pair of unofficial Spider-Man sunglasses from designer Ivan Vanacore make immediate, satisfying sense.

Vanacore’s concept takes the raised red webbing off Andrew Garfield’s suit in The Amazing Spider-Man 2 and wraps it around an Oakley silhouette, ellipse logo included at the temple. The web lines run outward from the nose bridge in the exact pattern the mask uses across the face, and the lens shape borrows the exaggerated, teardrop eye cutouts that made that particular suit stand out from Raimi’s earlier, more restrained design. There is no confirmation this is an actual product, a licensed collaboration, or anything beyond a designer’s personal project. Vanacore has not said whether these exist as more than renders, and neither Oakley nor Sony has commented. For now, treat it as a very convincing what if.

Designer: Ivan Vanacore

Vanacore did not default to the Maguire suit or even the more famous Tom Holland suit with the shapeshifting eyes, he went straight for ASM2’s version, the eyes pulled wide at the temples, the webbing raised enough to read as sculptural rather than printed. Garfield’s Spiderman never really got its due, it got swept under the rug while Sony just decided to put enough effort into the series to retain rights, promptly canceling it after 2 movies to focus on a Venom series. It’s only after Garfield made an appearance in No Way Home that people really objectively appreciated how well he embodied the role of Peter Parker.

Now the honest part. Would these actually be wearable? Eh. Those narrow lens openings look amazing in a photo and would be a nightmare for peripheral vision the second you tried to drive in them. And all that raised texture is basically a dust and grime trap waiting to happen. Cool concept, rough real life.

But none of that matters because the internet already wants a pair, and honestly, same. We’ve seen a ton of fan concepts that invent an entire new universe from scratch just to justify existing. This one barely has to try that hard. It just points at two things that already looked like they belonged together and goes “well?”

Whether Oakley ever picks this up is anyone’s guess, corporate legal teams have killed way cooler ideas than this and I’m sure Marvel and Oakley’s lawyers are definitely going to butt heads instead of collaborating earnestly to give the fans what they want. Until then it just lives as a really good What If, and somewhere a costume designer from 2014 is getting way more attention than they ever expected for a movie most people forgot.

The post These Oakley x Spiderman unofficial sunglasses are cooler than any smart wearable ever made first appeared on Yanko Design.

Apple may launch a “Watch Air” screen-less health tracker to compete with Whoop and Fitbit Air

For anyone who thinks Apple would never launch a screenless Watch, let me remind you of two, nay, three things. First, the iPod Shuffle – a product that baffled many, but delighted even more. For anyone who couldn’t afford an iPod Classic or Nano, the screenless Shuffle was the instant next pick. You couldn’t do much, play-pause, move across a randomized roster of tracks, and adjust volume. As limiting as this experience was, it still a smash success, selling 10 million units in just its first year.

The second bit of evidence I’d like to offer is the rumor that Apple’s been working on a smart ring to take on Samsung, Oura, and a bunch of other players that are slowly annexing this particular domain. The third is just a follow-up to the second – While smart rings are gaining a fair bit of popularity, Apple’s true competition is coming from an absolutely unexpected source – a small upstart called Whoop that’s captured the fitness band market, with big names sporting Whoop bands. Think of Whoop as the Beats by Dre of the fitness world… and you know what happened to Beats by Dre, right?

Designer: Tech Town

Apple Watch 'Air' health tracker concept in Cosmic Orange colorway

Bloomberg’s Mark Gurman reported in early August that Apple’s industrial design team has spent roughly the past year exploring what he called, in his own words, “something that transforms the product for a new era,” comparing the scale of the rethink to the iPhone’s jump from a slab to a foldable. A screenless band sits at the center of that exploration, alongside a round display concept Gurman says is unlikely to ship, plus new price tiers above the Ultra and Hermès range and below the SE. Nothing here is close to final. No sensors, no name, no price, no date. Apple hasn’t committed to any of it, and Gurman’s own reporting frames the screenless band as the most plausible of the bunch precisely because the rest of the wearable market has already proven the category works.

Apple Watch 'Air' health tracker concept in Mist Blue colorway

Apple has quietly, well, not quietly, actually already built the brain this device would need, and shipped it on your wrist this month. The Apple Watch Series 12 and Ultra 4 launched September 18 with a new Readiness app, a daily score from 0 to 10 built from recent activity, overnight vitals, and sleep, closing with a recommendation of Recover, Pace Yourself, Ready, or Go For It. Apple now samples HRV every five minutes, a figure it says is 24 times denser than what Series 11 could manage, and splits the reading into overall HRV and a Recovery HRV compared against your personal baseline rather than a population average. That is, functionally, a Whoop screen for readiness with the screen still attached to a watch. Strip the display away, keep the sensor stack and the scoring engine, and you have the pitch for a Watch Air in one sentence.

Apple Watch 'Air' health tracker concept in Titanium colorway

The person pushing hardest for that strip down sits above Apple’s entire health division. Eddy Cue took over health and fitness oversight from outgoing COO Jeff Williams in late 2025 and has reportedly told colleagues Apple needs to move faster in the category. Cue’s personal habit gives the story its bite: he wears both Oura and Whoop, executive shorthand for admitting the Health app hasn’t caught up to the devices its own leadership prefers on their wrists. An ambitious AI coaching project internally called Mulberry was scaled back after Cue’s arrival, redirected instead toward folding more of its intelligence straight into the core Health app rather than a paid add on layer.

The market Apple would be entering has filled in fast. Google’s Fitbit Air launched in May at $99.99, a 5.2 gram pod with no screen and no buttons, just a double tap gesture and a battery LED. Garmin’s Cirqa followed at $199.99 with a single physical side button and no subscription requirement, offering roughly 10 days of battery against the Air’s 7. Whoop 5.0 anchors the premium end at 14 days of battery, but the hardware means nothing without an active membership starting around $199 a year, the one structural weakness Apple’s own retail model was built to avoid.

Apple Watch 'Air' health tracker concept without the wristband

A round Apple Watch is, per Gurman, unlikely to happen, and the smart ring has been shelved and revived in rumor form so many times it barely qualifies as news anymore. The screenless band is different. It borrows a software system Apple has already shipped, it targets a price umbrella Apple has never fully occupied below the SE, and it answers a habit Cue is reportedly living out loud every morning. None of that guarantees a 2027 launch. But the Shuffle taught Apple that taking something away can sell just as well as adding something new, and this time, the thing it would be taking away is the one part of the Apple Watch nobody asked to keep charging every single night.

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Hisense U6SF Pro Wraps a 1,200-Nit Mini LED Panel in Glare-Free Screen and $699 Price Tag

If you spent the World Cup squinting at a TV that turned every afternoon match into a reflection of your living room window, I have good news about your timing. The Hisense U6SF Pro is a Mini LED TV with an anti-reflection screen built for bright rooms, plus a native 144Hz panel and a built-in subwoofer. The 65-inch model listed at $1,099 when it launched in March and now sells for around $699. The NFL season kicked off on September 9, so there’s a full season of Sunday afternoon games between you and Super Bowl LXI. That game lands on February 14, 2027, which makes a big TV the easiest Valentine’s Day gift you’ll ever justify to yourself.

Hisense’s own reviewer’s guide is built around hosting, with an “Out Host With Hisense” campaign aimed at the person whose living room becomes everyone’s game-day spot. Super Bowl Sunday is the Olympics of that job, and the 55 to 100-inch size range lets you pick how many friends you’re willing to feed. The early Sunday games are where the U6SF Pro’s coating does the real work, since that 1 p.m. kickoff arrives with full sunlight pouring through the blinds. Tom’s Guide’s reviewer never had to adjust the room lights during testing, which is exactly what a crowded couch needs. That’s a TV designed around the way people actually watch football: loud, bright, and surrounded by snacks.

Designer: Hisense

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Hisense’s anti-reflection, glare-free coating treats the living room as the design brief, cutting reflections from windows, skylights, and floor lamps so the picture holds its punch in daylight. TV showrooms love dim lighting, while real homes are full of glass, so designing the screen around daylight feels like the smarter starting point. Behind that coating sits a Hi-QLED Mini LED backlight with full array local dimming, rated for up to 1,200 nits of peak brightness. Tom’s Guide measured 358 nits in SDR using the most accurate picture mode, outshining pricier sets like the TCL QM7L and Hisense’s own U7 in that test. The Hi-View AI Engine adjusts brightness, contrast, and clarity scene by scene, so switching from a noon kickoff to a night game takes zero fiddling.

The unibody chassis keeps things clean and minimal, with slim bezels that push the picture right out to the edges. At roughly 2.5 inches deep, it sits close to the wall on a 400 x 300 mm VESA mount, and Tom’s Guide found the dual feet sturdy with zero wobble. I like a TV that reads as pure picture when it’s on and a tidy dark panel when it’s off, and this one nails both states. The lineup tops out at a 100-inch model, which makes sense coming from the brand that shipped more 100-inch-plus TVs than anyone in the first half of 2026, according to Omdia. Hisense clearly knows how to make a giant screen look at home on a living room wall.

Sound gets the same room-first thinking, with a 2.1-channel system and a built-in subwoofer that gives explosions and stadium roars real weight. Dolby Atmos and DTS Virtual:X widen the mix, and Tom’s Guide put it among the few built-in TV audio setups its reviewer wouldn’t rush to upgrade. A new AI Sports Mode boosts field and jersey colors while lifting crowd noise without burying the commentary, which feels tailor-made for game day. Color accuracy is a standout too, with Pantone Validated color and a lab-measured Delta-E of just 1.58 (lower is better), better than every similarly priced rival in the same test. Movie nights get Dolby Vision IQ, HDR10+ Adaptive, and Filmmaker Mode, so the same screen shifts from tailgate energy to cinema mode without breaking a sweat.

The native 144Hz panel turns halftime into a gaming session, with two HDMI 2.1 ports running 4K at 144Hz alongside AMD FreeSync Premium Pro, VRR, and ALLM. Tom’s Guide measured just 9.3ms of input latency, nearly matching some of the best gaming TVs out there. Dolby Vision Gaming and HDR10+ Gaming are on board, and Hisense’s Game Bar shows frame rate and VRR status without a trip through the menus. Streaming runs on Fire TV with Alexa+, so you can press the Alexa button and ask it to find a show, check scores, or control compatible smart lights. Amazon’s refreshed interface sorts content into categories like Sports and Live TV, and WiFi 6 keeps streams steady when a full house of phones joins the network.

List prices start at $849 for the 55-inch and climb through $1,099, $1,399, and $1,999 to $3,499 for the 100-inch. The U6SF Pro sits just above the standard U6 in Hisense’s lineup, adding the brighter glare-resistant screen and 144Hz panel that make the biggest difference in a sunny room. It’s available now at Amazon and Best Buy, with full specs on Hisense’s product page. By the time the Lombardi Trophy gets handed out at SoFi Stadium on February 14, you’ll have a whole season of Sunday afternoons logged on this screen. Your friends will figure out whose couch to show up at pretty quickly.

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VAIO’s Multi-Flip laptop is back after a decade, and it’s not cheap

Count how many times you have flipped your convertible into tablet mode this year. I am guessing the number sits closer to zero than to ten, and the reason is that your palms end up resting on a live keyboard, which feels like holding a cat backwards. VAIO’s fix is a 13.3-inch laptop called the VAIO T, whose display rotates 180 degrees on a pivot in the center of the lid so the keyboard folds away inside instead of facing the world. The mechanism rides on two urethane sheet hinges with the display cable sandwiched between them, locked by VAIO’s first magnetic retention system. Prototypes got flexed by hand over 20,000 times before anyone signed off on it.

This is the Multi-Flip Mechanism, and VAIO has not built one since the Z Flip in 2016. Sony launched the idea on the VAIO Fit 13A in 2013 and lost the format war to Lenovo’s cheaper, simpler 360-degree hinge, the one every convertible still uses today. The double hinge instinct has not stayed buried either. Acer flirted with something similar at IFA 2026 through Project DualPlay Mini, a gaming handheld that splits open on a second hinge to expose a keyboard, part of our best of IFA 2026 coverage. The VAIO T is the first product co-developed since Nojima acquired VAIO in January 2025, and the first entry in a range the company calls VAIO Next. Pricing starts at 374,000 yen, about $2,400, with nothing announced for markets outside Japan.

Designer: VAIO

The three modes sound simple until you try describing them without waving your hands around. Fold the top half of the display toward you from a normal open laptop and you land in view mode, screen facing outward for a meeting or a presentation while the keyboard sits underneath doing nothing. Keep folding and the lid closes flat with the display on top, and you have a tablet, minus the part where your palm rests on a row of keys. VAIO says the urethane sheet hinges and the sandwiched display cable were the hard part to get right, since a flexible cable running through a rotating joint fails in ways a fixed one never does. The magnetic retention is new to this generation and exists to stop the whole assembly from drifting loose between shapes.

VAIO also used the relaunch to pull its favorite color story back out. Kachi-iro is a near black indigo made by pounding dyed cloth, worn by samurai centuries ago because the name sounds like the Japanese word for victory, and VAIO has been putting it on flagship machines since a special edition SX12 back in 2021. The T ships in fine black and fine red as standard, with a Kachi-iro Special Edition reserved for the VAIO Store and paired with the fastest chip on offer, an Intel Core Ultra X7 358H with a stronger integrated GPU. Everyone else chooses between the eight core Core Ultra 5 325 and the sixteen core Core Ultra 7 356H. It is a small flourish, but it tells you exactly which customer VAIO is chasing.

The rest of the spec sheet is competent rather than dramatic, which is fine, since the hinge is doing the talking. The 13.3-inch touchscreen runs at 2560 by 1600 in a 16:10 frame, glossy, built on VAIO’s flash surface glass, an odd choice for a machine designed around showing your screen to someone across a table, since that is exactly when glare shows up uninvited. Memory tops out at 64GB on the Core Ultra 7 configuration, storage climbs to a 2TB PCIe 5.0 SSD, and an optional battery claims around 18 hours of video playback under Japan’s generous JEITA 3.0 standard.

None of it comes cheap, and none of it comes to the US. The base configuration starts at 374,000 yen, close to $2,400, for a Core Ultra 5 with 16GB of memory and a 512GB drive, before you add storage, the bigger battery or an English keyboard as paid extras. VAIO has not announced any plan to sell the T outside Japan, so this is a laptop most of us can admire through a browser window and nothing else. I would also gently point out that a glossy panel is an odd choice for a machine built around showing your screen to someone across a table, since that is exactly the moment glare tends to show up uninvited.

Still, the interesting part of this story was never really the spec sheet. It is that a company selling laptops for a living looked at its own back catalog, found the mechanism everyone else abandoned a decade ago, and decided the abandoned one was actually correct. Lenovo’s hinge won the market. VAIO’s hinge is making the argument that winning the market and solving the problem were never quite the same fight.

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