Author Archives: Sarang Sheth

TWS Earbuds With Built-In Cameras Puts ChatGPT’s AI Capabilities In Your Ears

Posted on by

Everyone is racing to build the next great AI gadget. Some companies are betting on smartglasses, others on pins and pocket companions. All of them promise an assistant that can see, hear, and understand the world around you. Very few ask a simpler question. What if the smartest AI hardware is just a better pair of earbuds?

This concept imagines TWS earbuds with a twist. Each bud carries an extra stem with a built in camera, positioned close to your natural line of sight. Paired with ChatGPT, those lenses become a constant visual feed for an assistant that lives in your ears. It can read menus, interpret signs, describe scenes, and guide you through a city without a screen. The form factor stays familiar, the capabilities feel new. If OpenAI wants a hardware foothold, this is the kind of product that could make AI feel less like a demo and more like a daily habit. Here’s why a camera in your ear might beat a camera on your face.

Designer: Emil Lukas

The industrial design has a sort of sci fi inhaler vibe that I weirdly like. The lens sits at the end of the stem like a tiny action cam, surrounded by a ring that doubles as a visual accent. It looks deliberate rather than tacked on, which matters when you are literally hanging optics off your head. The colored shells and translucent tips keep it playful enough that it still reads as audio gear first, camera second.

The cutaway render looks genuinely fascinating. You can see a proper lens stack, a sensor, and a compact board that would likely host an ISP and Bluetooth SoC. That is a lot of silicon inside something that still has to fit a driver, battery, microphones, and antennas. Realistically, any heavy lifting for vision and language goes straight to the phone and then to the cloud. On device compute at that scale would murder both battery and comfort.

All that visual data has to be processed somewhere, and it is not happening inside the earbud. On-device processing for GPT-4 level vision would turn your ear canal into a hotplate. This means the buds are basically streaming video to your phone for the heavy lifting. That introduces latency. A 200 millisecond delay is one thing; a two second lag is another. People tolerate waiting for a chatbot response at their desk. They will absolutely not tolerate that delay when they ask their “AI eyes” a simple question like “which gate am I at?”

Then there is the battery life, which is the elephant in the room. Standard TWS buds manage around five to seven hours of audio playback. Adding a camera, an image signal processor, and a constant radio transmission for video will absolutely demolish that runtime. Camera-equipped wearables like the Ray-Ban Meta glasses get about four hours of mixed use, and those have significantly more volume to pack in batteries. These concept buds look bulky, but they are still tiny compared to a pair of frames.

The practical result is that these would not be all-day companions in their current form. You are likely looking at two or three hours of real-world use before they are completely dead, and that is being generous. This works for specific, short-term tasks, like navigating a museum or getting through an airport. It completely breaks the established user behavior of having earbuds that last through a full workday of calls and music. The utility would have to be incredibly high to justify that kind of battery trade-off.

From a social perspective, the design is surprisingly clever. Smartglasses failed partly because the forward-facing camera made everyone around you feel like they were being recorded. An earbud camera might just sneak under the radar. People are already accustomed to stems sticking out of ears, so this form factor could easily be mistaken for a quirky design choice rather than a surveillance device. It is less overtly aggressive than a lens pointed from the bridge of your nose, which could lower social friction considerably.

The cynical part of me wonders about the field of view. Ear level is better than chest level, but your ears do not track your gaze. If you are looking down at your phone while walking, those cameras are still pointed forward at the horizon. You would need either a very wide angle lens, which introduces distortion and eats processing power for correction, or you would need to train yourself to move your whole head like you are wearing a VR headset. Neither is ideal, but both are solvable with enough iteration. What you get in return is an AI that can actually participate in your environment instead of waiting for you to pull out your phone and aim it at something. That shift from reactive to ambient is the entire value proposition, and it only works if the cameras are always positioned and always ready.

The post TWS Earbuds With Built-In Cameras Puts ChatGPT’s AI Capabilities In Your Ears first appeared on Yanko Design.

This teal Nothing Phone 3a Community Edition looks like a Game Boy for grown‑ups

Posted on by

Nothing just pulled the curtain back on the Phone 3a Community Edition, a limited 1,000-unit drop built around a vibrant teal design inspired by late-90s gaming hardware. This special release is the result of a nine-month collaboration between Nothing’s internal teams and four winners from its community design project. The phone itself is a visual statement, swapping the brand’s typical monochrome palette for a look that feels more playful and expressive. It’s a collector’s piece for those who appreciate when a company lets its community take the wheel, resulting in a product that feels both nostalgic and distinctly modern.

Underneath the colorful new shell, the device carries internals identical to the standard Phone 3a. It is powered by a Snapdragon 7s Gen 3 chipset and features a 6.77-inch 120Hz AMOLED display with 2,160Hz PWM dimming for smooth visuals. The camera system includes a 50MP main sensor with OIS, a 50MP 2x telephoto lens, and an 8MP ultrawide. A 5,000mAh battery with 50W wired charging handles power. The single 12GB/256GB configuration is priced at £379, matching the top-tier regular model and reinforcing that this is a design-focused release, not a spec upgrade.

Designer: Emre Kayganacl

The aesthetic is where the Community Edition truly sets itself apart. The translucent teal back, designed by winner Emre Kayganacl, reveals internal components arranged as clean geometric layers. This gives the rear a deliberate, compositional quality rather than a raw, tech-exposed look. The horizontal camera module sits perfectly centered, with Nothing’s signature glyph light arcs wrapping around it to signal notifications. Small, scattered circles of yellow and magenta add playful contrast, giving the phone a character reminiscent of a limited-edition handheld console without feeling like a simple throwback.

This cohesive design language extends to the front of the phone. The software experience includes an exclusive teal-gradient wallpaper and a custom lock-screen clock designed by community winner Jad Zock. The rounded, monochrome icons of Nothing OS float above the colorful background, tying the user interface directly to the physical hardware. This thoughtful integration ensures the device feels like a single, unified object. It’s a complete visual package that considers how the phone looks both when the screen is on and off, creating a more holistic product experience.

 

The project began with over 700 submissions from Nothing’s community, with winners selected for hardware design, accessories, software visuals, and marketing. This co-creation process is central to the phone’s story, representing a deeper collaboration than the company’s first community project. For those hoping to get one, registration is open until December 11, with a limited sales window opening on December 12 through Nothing’s website. It’s a rare opportunity to own a device that is as much a design experiment as it is a daily driver.

The post This teal Nothing Phone 3a Community Edition looks like a Game Boy for grown‑ups first appeared on Yanko Design.

These Official Squidward Crocs Will Repel Every Adult Woman In A 10-Mile Radius

Posted on by

Do I have a problem with Squidward? Fundamentally, no. Emotionally, maybe. He could be less of a buzzkill, but he’s truly a model neighbor and a great employee at Krusty Krabs. But do I have a problem with Squidward-themed Crocs? Overwhelmingly. I’m a Croc evangelist for life, but these footwear are so incredibly niche I wouldn’t want to be caught dead wearing them. At the same time, I want to be around people who wear then just for the opportunity to judge them!

So, Crocs has been launching Spongebob-themed footwear to mark the launch of the latest movie, and while the company already unveiled Spongebob and Patrick-inspired clogs, they decided to keep the best (subjective, of course) drop for the absolute end. You see, the Spongebob and Patrick ones look fairly benign… but the Squidward clogs, dropped today, quite literally look like you’ve slipped your feet into a hole in Squidward’s skull. The details aren’t subtle at all. Each clog has an immaculate representation of Squidward’s face, with its skeptical stare and raised eyebrow, along with that nose only a mother can love.

Designer: Crocs

Let me reiterate. I love Spongebob as a franchise. I like Squidward as a character. But these shoes are, well, repellent to say the least. Don’t expect to score any ladies with these, but if you’re a diehard fan of the franchise, it’s entirely within your rights to collect these limited-edition pairs, and probably even wear them in support of the movie, which launches in May next year.

The entire croc is molded in the iconic Squidward pale green, with the strap being white and sporting an anchor symbol on the pivot-point. Available in unisex sizes, the shoes will officially hit the shelves on December 11th, with a price tag of $80. Am I talking smack about these shoes just so that I can convince enough people to NOT buy them so that I can get a shot at owning them? Probably, you’ll never know.

Also hitting the shelves tomorrow are the Spongebob and Patrick Star clogs, in their iconic colors and designs. The Spongebob one comes with arms on the shoes’ body, along with a belt running around the midsole to denote Spongebob’s iconic pants. The insole has Spongebob’s face printed on it, so the shoes look like him from the top. Similarly, even the Patrick Star ones come with Jibbitz that are typical to the starfish, like a rock, a minifigure of Patrick himself, a bottle of sunscreen, and a jar of mayo. The straps read Patrick’s famous lines ‘Is Mayonnaise An Instrument?’, and the midsole (like Spongebob) features the green and purple print from Patrick’s pants.

The post These Official Squidward Crocs Will Repel Every Adult Woman In A 10-Mile Radius first appeared on Yanko Design.

These Keycap-Inspired Rectangular Headphones Make Nothing’s Design Look Boring

Posted on by

We knew Nothing was launching headphones this year, most of us imagined glyphs on them, but Nothing pulled a fast one by choosing a different design direction to stand out amongst a sea of headphones. Instead of the conventional circular or capsule-shaped cups, they unveiled rectangular headphones that took the world by surprise. A lot of us (me included) had reservations on the design, but if anything, the rectangular format was unique enough to really make an impact. The problem? I didn’t associate that design language with Nothing as a brand.

Now, if we’re designing headphones that are just meant to be different, these keycap-inspired headphones really take the cake. Designer Tougou Daciqeng calls it “Cross-border integration of tactile design and auditory technology”, which is just fancy designspeak for ‘we drew a parallel between two senses – touch, and sound’. The result is a pair of headphones that welcome your ears, but also your eyes and hands. That keycap-inspired can on the outside just begs your fingers to touch touch it, sometimes even attempt pressing it.

Designer: Tougou Daciqeng

The result is a fun design language that I don’t attribute to Nothing, but I definitely do to a brand like Teenage Engineering. Fun, funky designs, vibrant and subdued color options, and a silhouette that feels unmistakable. Teenage Engineering doesn’t lean into hyper-ergonomics, everything they make has this industrial, engineering-driven touch, resulting in very soft curves that often punctuate otherwise straight lines and geometric forms.

The beauty of such a pair of headphones lies in not its sound, but its appearance. Sure, sound is arguably the most important feature of a headphone, but what we’re looking at here is purely conceptual, so we’ve only got visuals to go by. To that end, the Keycap Headphones are a visual masterclass. They come with rectangular earcups, but the cutout is still elliptical, allowing them to fit around your ear snugly.

Everything else revolves around that key-shaped surface on the sides. Styled like a Cherry key (although a little different and a lot larger), this surface lets you control the playback through taps, swipes, etc. I’d have preferred a nice clicky key, but we work with what we’ve got. There’s one button on the top of the right earcup for powering on and off the earphones. Everything else can be done through the faux keys on the sides.

The designer definitely gets that a clicky key would be better than a touch surface, which is why they’ve built haptics into the earphones. Press the surface and a click plays through your ear, giving you a satisfactory sensory experience that affirms a key press. The rest of the headphones are fairly uncomplicated. A telescopic headband, a fairly repairable design thanks to exposed countersunk screws on the cans (for that industrial aesthetic), and USB-C charging on the bottom. The headphones come in 5 color variants too, including two metallic finishes, a retro off-white and a classic grey, and finally a fairly CMF-ish orange that’s definitely going to grab a few eyeballs.

The post These Keycap-Inspired Rectangular Headphones Make Nothing’s Design Look Boring first appeared on Yanko Design.

Remember Need For Speed? Someone built a real-life Mini Map from the game to use in your car

Posted on by

The mini map has been a staple of racing and open-world games for decades, teaching us to navigate virtual cities with quick glances at a corner of the screen. A developer has now made that experience tangible, building a GPS-based mini map system for actual driving that recreates the look and feel of Need for Speed Underground 2. What everyone said was impossible on an ESP32 microcontroller is now working smoothly in a real car, tracking position, displaying waypoints, and making everyday drives feel unexpectedly game-like.

Getting this to work on a $20 microcontroller meant processing the entire UK into 2.5 million map tiles, totaling 236GB of data stored on an SD card. The ESP32 loads them dynamically based on your heading, only pulling in new tiles from the direction you’re traveling because each one takes a tenth of a second to load. We’re talking weeks of optimization just to get map tiles loading fast enough, clever tricks to avoid tanking the frame rate, and some creative compromises that make the whole thing feel polished despite running on hardware that costs less than takeaway for two. What’s particularly cool is that all the code is open-source, meaning you could theoretically generate tiles for your own city styled after whatever game you’re nostalgic for.

Designer: Garage Tinkering

The project runs on an ESP32-P4, the flagship chip in the ESP32 family, paired with a 3.4-inch 800×800 pixel WaveShare display. If it couldn’t work on this combination, it wasn’t going to work on any ESP32, which is exactly why the developer chose it. The alternative would have been admitting defeat before even starting, and where’s the fun in that?

The map generation process alone is wonderfully excessive. Using QGIS, a geospatial mapping tool, the developer pulled road data from Ordnance Survey, transportation waypoints from the UK Department of Transportation, and petrol stations from Open Street Maps via a custom Python script that parsed through a 2GB dataset looking for anything tagged with “amenity=fuel.” The result was 2.5 million map tiles covering the entire UK at zoom level 16, totaling 236GB of data. Processing took 35 hours. Converting those tiles to a format the ESP32 could read took another 18 hours. Transferring everything to an SD card took 22 more hours. This is the kind of project where you start things running before bed and hope they’re done by morning.

Getting smooth performance meant rethinking how traditional GPS navigation works. Each tile takes roughly 0.1 seconds to load from the SD card, which sounds fast until you realize how many tiles you’d need if you loaded everything around you constantly. The solution was directional loading. If you’re heading north, only load new tiles coming in from the top. The tiles on the sides and bottom don’t need refreshing because you’re moving away from them. Just shuffle the existing data around in memory and you’ve saved yourself a bunch of unnecessary SD card reads.

The other big performance win came from abandoning authenticity. The original plan was to rotate the entire map grid so it moved like it does in Need for Speed, with the car always pointing up. Turns out rotating large image grids on an ESP32 makes everything stuttery and unpleasant. The fix was keeping the map oriented north and rotating just the car icon to show your heading. It’s less true to the game but infinitely smoother in practice, which matters more when you’re actually using the thing.

The current prototype isn’t exactly plug-and-play elegant though. The GPS module sits on a breadboard outside the main device, creating a larger footprint than the sleek circular display suggests. It’s functional but definitely looks like a dev setup rather than a finished product. Still, the developer plans to integrate everything into a full Need for Speed inspired dashboard for their Nissan 350Z, which should clean up the form factor considerably. And since all the code is open-source and free to use, anyone with the patience for multi-day processing times can adapt it for their own area and preferred game aesthetic.

The post Remember Need For Speed? Someone built a real-life Mini Map from the game to use in your car first appeared on Yanko Design.

The 8BitDo 64 controller just got an iMac G3 inspired makeover in 8 new colors

Posted on by

Remember when technology came in flavors instead of just space gray and black? 8BitDo certainly does, and the company is channeling serious late-90s energy with its newly announced Funtastic Limited Editions. These eight new colors for the 64 Bluetooth Controller embrace the translucent design language that once made the iMac G3 a cultural phenomenon and the N64 Funtastic series highly collectible. Now that aesthetic is back, adapted for modern gaming needs.

The lineup includes seven see-through variants alongside a solid Gold option, bringing the total 64 Controller color count to eleven. Each model maintains full compatibility with the Analogue 3D, Nintendo Switch family, Android devices, and Windows PCs through Bluetooth or USB connectivity. At $44.99, they command a small premium over standard colors, but that hasn’t stopped 8BitDo from warning potential buyers about extremely limited quantities. Pre-orders begin December 10 at 8 AM PST, with units shipping in February 2026.

Designer: 8bitdo

Look, I get why 8BitDo went this route. The Analogue 3D crowd skews heavily nostalgic, and these controllers speak directly to people who spent their formative years with an atomic purple N64 controller in hand. Clear, Jungle Green, Watermelon Red, Smoke Black, Ice Cyan, Fire Orange, Gold, and Grape Purple. These aren’t subtle nods to the past. They’re full-throated love letters to an era when product designers believed technology should spark joy rather than disappear into minimalist oblivion. The translucent shells let you peek at the circuit boards inside, which feels refreshingly honest in an age where everything’s sealed up tighter than Fort Knox. There’s something genuinely appealing about seeing the guts of your gear, even if modern miniaturization means there’s less to actually see than there was in 1998.

What strikes me is how this design language has aged. When Jonathan Ive and his team at Apple dropped the iMac G3 in Bondi Blue, it felt revolutionary because computing had spent decades looking like beige office equipment. Nintendo followed suit with their Funtastic series, and suddenly every product category had a translucent variant. Then it all died out around 2002, victim of its own ubiquity and the rising tide of aluminum unibody minimalism. But here we are in 2025, and these candy-colored shells feel fresh again. Maybe enough time has passed, or maybe we’re all just exhausted by the relentless sameness of contemporary industrial design.

The $44.99 price point sits five bucks above the standard black and white models, which retail for $39.99. That’s a reasonable premium for limited edition colorways, especially given that 8BitDo isn’t skimping on features. Full Bluetooth connectivity, wired USB support, compatibility across multiple platforms. The February 2026 ship date feels distant, but that’s standard for limited runs where manufacturing slots are precious. What concerns me more is 8BitDo’s emphasis on “highly limited quantities.” That phrasing usually means either genuine scarcity or artificial hype-building, and with gaming peripherals, it’s often hard to tell which until pre-orders go live. Either way, if you want one of these translucent beauties sitting next to your Analogue 3D, setting a December 10 alarm is probably wise.

The post The 8BitDo 64 controller just got an iMac G3 inspired makeover in 8 new colors first appeared on Yanko Design.

This $10 Measuring Tape Is Built for LEGO Bricks and Nothing Else

Posted on by

Every LEGO fan knows the brick separator, but far fewer have a dedicated way to measure their creations. The Stud Measure steps into that gap with a compact case, a flexible tape, and markings that translate directly into the geometry of the LEGO system. It is designed for anyone who has ever counted studs by hand across a long baseplate and wished there were a faster way.

Instead of dangling a metal hook over your build, you snap a bright blue clip straight into the studs. From there, the tape glides across the surface or up the side of a wall while the numbers tick by in studs, bricks, and plates. Whether you are mocking up a city block, planning a train layout, or scaling a real world object into LEGO form, the Stud Measure turns measuring into part of the creative process.

Designer: Brick Science

Riley from Brick Science, a channel with over 2 million subscribers, developed the tool and launched it through a dedicated shop at $9.99. That pricing puts it squarely in impulse buy territory, which feels about right for something this niche. The tape extends to 190 studs, which translates to roughly 60 inches or 152 centimeters in real world terms. For context, that covers the length of most standard LEGO train layouts and easily spans the width of a modular building display. You could measure an entire tabletop setup without retracting and repositioning, which matters when you are trying to keep alignment tight across multiple sections.

That little clip is the real piece of engineering genius here. A standard tape measure hook is designed for grabbing the edge of a two-by-four; it has no real purchase on the curved, precise landscape of a LEGO plate. The Stud Measure’s end piece, however, is molded to fit snugly between the studs, using the system’s own clutch power to anchor itself. This means your zero point is always perfectly centered and locked in place, leaving your hands free. It’s a simple, elegant solution to a problem that has plagued serious builders for decades, finally treating the LEGO grid with the same respect a machinist would treat a piece of milled aluminum.

Once anchored, the tape itself does the rest of the work. One side is marked out to 190 studs, a respectable length for even large scale projects. Flip it over, and you get a vertical scale marked in brick heights, with fine red lines indicating the one-third increments of a single plate. This dual-sided approach is what elevates it from a novelty to a legitimate design tool. You can instantly verify that two separate towers in a diorama are the exact same height, or plan a complex wall structure with openings that are a precise number of bricks wide and tall. It removes the tedious counting and guesswork, letting you focus on the actual build.

The Stud Measure is fundamentally a translation device, converting the abstract dimensions of the real world into the concrete, tangible units of the LEGO system. You can measure a shelf and know instantly you have a 120-stud canvas to build on. It closes the loop between imagination and execution, making ambitious, scaled projects feel far more achievable for builders who want to move beyond the instruction booklet. This is not a toy, despite its bright colors and its association with one. It is a piece of workshop equipment, just like a good set of calipers or a reliable square, designed to remove friction from the creative process.

Ultimately, it is a ten dollar gadget that solves a hundred dollar headache. The real value is not just in the time saved, but in the uninterrupted focus it allows. Every moment a builder spends recounting studs or converting inches to bricks is a moment they are pulled out of the design flow. By making the act of measuring so seamless and integrated, the Stud Measure lets you stay in that creative headspace longer. It is a tiny, ingenious piece of plastic that respects the builder’s time and effort, and that kind of thoughtful design is always worth a closer look.

The post This $10 Measuring Tape Is Built for LEGO Bricks and Nothing Else first appeared on Yanko Design.

Dwarf Factory’s Tiny Christmas Keycaps Are Absolutely Perfect Gifts For Gamers

Posted on by

Sweetmas keycaps are what happens when a holiday cookie box collides with boutique keyboard culture. Designed by Dwarf Factory, the collection transforms the familiar 1U key into a micro stage, where a gingerbread character, a jolly Santa, or a toy soldier style nutcracker performs among piles of sweets and winter snacks.

The sculpted scenes sit under a polished resin dome, anchored to a base that looks like a miniature metal tin printed with festive graphics. It is a small gesture in physical terms, but it reshapes the way a keyboard feels on the desk, turning a technical tool into something closer to a seasonal keepsake that can live in a design conscious home.

Designer: Dwarf Factory

What makes these tiny worlds so compelling is the human touch behind them. Dwarf Factory does not mass produce these pieces; each keycap is the result of a meticulous artisanal process. The internal figures and their festive surroundings are first sculpted and then cast in resin. From there, artists take over, hand painting every minute detail, from the icing on a gingerbread man’s scarf to the rosy cheeks of Santa Claus. This level of dedication ensures that no two keycaps are perfectly identical, giving each one a unique character that automated manufacturing simply cannot replicate.

The Gingerbread variant, affectionately named Gingy, is a pure confectionery explosion. The cheerful gingerbread figure sits front and center, armed with a candy cane and surrounded by a landscape of sweets. There are chocolate bars, striped peppermints, and frosted Christmas tree cookies all packed into the scene. The entire diorama is housed on a base painted a festive green, with white snowflake details and the “Sweetmas” logo, perfectly capturing the feeling of a holiday candy shop that has been shrunk down to the size of a fingertip.

Next in the collection is Claus, a tribute to the man himself. This version features Santa Claus nestled in a treasure trove of baked goods. He is surrounded by an assortment of cookies, pretzels, and other holiday treats, as if caught mid-snack on his big night. The base of this keycap is a warm, inviting red, again styled like a classic cookie tin. The scene feels cozy and generous, a tiny, edible looking snapshot of Christmas Eve that brings a sense of warmth and nostalgia to the keyboard.

Rounding out the trio is Cracky, the Nutcracker. This design takes a more traditional, almost rustic approach to the holiday theme. The Nutcracker figure stands guard among a collection of almonds, walnuts, pine cones, and subtle green foliage. The base is a deep, royal blue, which gives it a more sophisticated and classic feel compared to the playful energy of the other two. It evokes the feeling of a classic Christmas ballet or a walk through a winter forest, offering a more elegant take on the Sweetmas theme.

As artisan pieces, the Sweetmas keycaps are designed to be both beautiful and functional. They are sized as standard 1U keys and feature a Cherry MX compatible stem, making them a drop in replacement for the vast majority of mechanical keyboards on the market. Their tall, sculpted profile, similar to an SA R1 key, gives them a satisfying presence on the board, perfect for an escape key or a macro pad. Released as a limited seasonal collection, these keycaps are collectible by nature, and the fact that each keycap is hand-crafted means that they command a fairly premium price at $49 bucks a pop. You’d have to absolutely make Santa’s list if you want these in your stockings for Christmas.

The post Dwarf Factory’s Tiny Christmas Keycaps Are Absolutely Perfect Gifts For Gamers first appeared on Yanko Design.

The Most Underrated Design Skill in 2025: How To See Your Ideas Faster

Posted on by

Design Mindset, Yanko Design’s weekly podcast, treats the creative process as something you can actively shape rather than something that just happens to you. Each episode digs into the habits, mental models, and practical tools that move designers from tentative to decisive, from endlessly tweaking to actually shipping work. Now in its fourteenth episode, the show is starting to feel like a standing studio critique in audio form, where process and mindset get equal billing with aesthetics. Powered by KeyShot, the series keeps returning to a simple idea: when designers can see their ideas faster and more clearly, they make better choices and take bolder risks.

This week, host Radhika Seth speaks with Reid Schlegel, Design Director at RS.D and educator at Parsons School of Design, whose career spans consultancy work at Smart Design and collaborations with brands like OXO. Reid is fluent in everything from loose Sharpie sketches to VR, CAD, and photorealistic rendering, but what really defines his work is how he teaches others to use visualization as a confidence engine. Not the confidence to defend a final deck, but the quieter confidence to show rough, uncertain ideas early. In episode 6 of Design Mindset, he unpacks how rapid visualization, from napkin sketch to KeyShot render, can quietly become the most important skill in a modern design career.

Seeing ideas sooner, not better, builds real creative confidence

Reid starts with a pattern he sees constantly in classrooms and studios. Designers are not short on ideas, they are short on the courage to externalize them before they feel polished. He describes watching students stall out inside their own heads: “They’ll have a brilliant idea in their head but they’ll spend weeks perfecting it mentally before they ever put pen to paper or pixels to screen. By the time they finally externalize it, they’ve already talked themselves out of half the good ideas. The magic happens when you see your ideas sooner, messier, more honestly. Because creativity isn’t about having perfect ideas, it’s about having the confidence to iterate on imperfect ones.” That shift in mindset turns sketching and rendering into tools for thinking instead of tools for showing off.

Once ideas are visible, the conversation changes. A wall of fast, imperfect sketches or rough models invites questions like which direction has the most potential, which combination might unlock something new, and what should be pushed further. In professional settings, especially in consulting where Reid has spent most of his career, the ability to generate many legible options makes you a better collaborator and a more resilient designer. A high volume of rough concepts creates more material for the team to build on together, spreads risk across multiple directions, and keeps everyone less attached to any single idea. Creative confidence grows from that rhythm of trying, testing, and adjusting, not from waiting for one supposedly flawless concept.

A Batman tool belt beats a single perfect process

A lot of younger designers still believe in a clean, linear pipeline: research, sketch, model, render. Reid is quick to call that a myth. Real projects are messy, and the designers who thrive are the ones who treat their skills like a Batman tool belt. “It’s not about being good at just sketching and rendering. It’s about having a wider toolkit. I kind of use the analogy of like Batman’s tool belt, where there’s a lot of different things that need to be used at different times.” On some days, the right move is a page of thumbnails. On others, it might be a crude clay massing model, a hacked cardboard mockup from Amazon boxes, or a loose “sketch CAD” blockout. The metric is not beauty. The metric is how quickly you can get something tangible enough to react to.

Reid encourages designers to be comfortable sacrificing early quality for speed, because that is how you work through the weak ideas while the stakes are still low. He also treats switching mediums as a deliberate tactic. When a problem feels stuck in CAD, picking up a pen or building a quick physical mockup can unlock a “quick win” that restores momentum. That change of medium nudges your brain into a different mode of thinking and often reveals new angles on the same brief. Instead of obsessing over one polished workflow, Reid wants designers to ask, in each moment, which tool will get them to a useful insight fastest, then move on once that insight has been captured.

Paper sketching still feels like wizardry in a digital room

Despite his comfort with digital tools, Reid is unapologetically bullish on paper. Quick, low fidelity sketching on paper remains his go to for early ideation and for live sessions with clients. The reason is not nostalgia. It is transparency. When you sketch in front of someone, they can see the thinking appear in real time. That has a powerful effect on trust. As he puts it, “If you can do a sketch on the table in front of a client, they will look at you like you’re a wizard and you’ll instantly get their respect and they’ll trust you. If you’re the first person to show it to them, you’re like the gatekeeper that all of a sudden allowed them to level up. So quick sketching is super invaluable.”

In workshops or stakeholder reviews, a spread of loose paper sketches invites people to point, circle, and combine. The work feels approachable. No one worries about “ruining” a finished render with a suggestion. That is why Reid talks about early outputs as “sacrificial lambs.” Their job is to be tested, challenged, and discarded if needed, not to survive untouched. A handful of super polished digital images, by contrast, can freeze the room. Critique starts to feel like an attack on something that already looks finished. By keeping the fidelity low in the early stages, designers protect their own willingness to explore and their clients’ willingness to engage honestly.

From overnight renders to minutes fast feedback

The episode spends time on how rendering technology has changed the tempo of design work. Reid remembers starting out at Smart Design when rendering was slow and often an overnight task. That lag created friction. Teams hesitated to render too early because each pass cost so much time. Today, tools like KeyShot produce photorealistic versions of rough models in minutes, which means designers can use rendering as part of the exploratory phase rather than saving it for the end. When you can see a form in believable lighting and materials almost immediately, you can catch proportion issues, surface problems, or brand mismatches long before they become expensive.

Reid is careful to point out that this speed comes with a risk. When designers jump into CAD and high fidelity rendering too early, they tend to lock in too soon. Once a model has hours invested in it, it becomes harder to throw away, even if the core idea is weak. His answer is to treat early CAD and early KeyShot passes like any other sketching medium. They are temporary, disposable, and meant to be killed if they are not moving the project forward. Used in that spirit, fast rendering becomes a way to shorten feedback loops and ground decisions in visual truth, rather than a trap that turns every file into something too precious to question.

Career momentum from transparency and fast, flexible output

When Radhika asks how all of this translates into career success, Reid focuses on two themes: efficiency and openness. In consulting environments, timelines are tight and briefs evolve quickly. Designers who can flex across sketching, models, CAD, and rendering, and who can choose the right tool for each moment, simply handle more work without burning out. “It just means you’re an efficient team member. My entire career has been consulting and consulting is a rapid environment where you have to execute quickly or else you just won’t be able to keep up with the demand and the workload.” That kind of efficiency is not about cutting corners. It is about not over investing in fidelity before an idea has earned it.

On the human side, Reid urges junior designers to practice radical transparency instead of hiding their struggles. He points out that managers can usually see when someone is floundering, and that teams and clients are incentivized to help you succeed because your success is tied to the project’s outcome. Asking for help early allows leaders to design a development plan with you, rather than quietly losing confidence in your abilities. When things click, creative confidence feels, in his words, “empowering” and “warm inside.” It is the sense that your work was understood, that it resonated with the room, and that you are moving in the right direction. For a field built around solving problems and creating delight for others, that feeling is one of the most reliable rewards of the job.

Design Mindset, powered by KeyShot, returns every week with conversations like this, tracing the connection between how designers think, the tools they use, and the work they put into the world. Episode 6 with Reid Schlegel leaves you with a simple, practical challenge: see your ideas sooner, in more ways, and with less fear of being imperfect.

The post The Most Underrated Design Skill in 2025: How To See Your Ideas Faster first appeared on Yanko Design.

4‑Axis CNC, Built‑In Laser, Auto Tool‑Change: The $899 Makera Z1 Replaces Your Entire Workbench

Posted on by

The maker movement has always had this tension between aspiration and reality. We want to believe that anyone with creativity and determination can fabricate complex physical objects, but the actual tools have never quite lived up to that vision. 3D printers got there eventually, becoming genuinely accessible after years of tinkering and iteration. CNC mills are still waiting for their Prusa moment, that breakthrough where capability and usability finally converge at a price point that makes sense for individual creators rather than small manufacturers.

Makera’s Z1 looks like it might be taking a serious run at becoming that machine. The specs are legitimately compelling: 4-axis machining for complex geometries, laser engraving for multi-material work, tool changing that doesn’t kill your workflow momentum. But the really smart move is how they’ve approached the software side with their Smart Machining Wizard that handles toolpath optimization automatically. That’s the kind of feature that could genuinely flatten the learning curve, because the hardest part of CNC work isn’t understanding what you want to make, it’s translating that into the specific sequence of cuts and feeds that won’t destroy your material or your bit.

Designer: Makera

Click Here to Buy Now: $899 $1199 (25% off). Hurry, only 1052/7000 left! Raised over $8 million.

Makera built this thing with a die-cast metal frame that keeps it rigid enough for precision work while staying compact enough for a desk or workbench. Most desktop CNCs either sacrifice rigidity for size or end up being “desktop” machines that require you to dedicate half a room to them. The Z1 actually fits where people work without turning into a wobbly mess the moment you put any real cutting force on it. A transparent enclosure with blue LED lighting lets you watch what’s happening, which sounds purely aesthetic until you’ve spent enough time with CNC work to know that being able to see when something starts going wrong is the difference between catching a problem early and ruining your third attempt at an expensive piece of walnut.

Most people who’ve used desktop CNCs have experienced the tool-changing nightmare. You’re halfway through a project, need to swap from a roughing bit to a finishing bit, and suddenly you’re stopping the job, manually changing tools, re-zeroing everything, and praying you didn’t throw off your alignment. Mess it up and you’ve wasted material, time, and patience. The Z1’s quick tool changer handles swaps in seconds without breaking workflow. Queue up your roughing pass, finishing pass, and laser engraving in sequence, start the job, and come back to finished work. You can actually plan projects with multiple operations now instead of avoiding them because the process is too tedious.

Adding a fourth axis changes what you can make, not just how easily you can make it. Standard 3-axis machines force you into flat-world thinking. Want details on a cylinder? You’re manually rotating and re-fixturing, hoping your alignment is perfect each time. Complex curves? Forget it unless you enjoy spending hours setting up custom jigs. With 4-axis capability, cylindrical parts become straightforward. Jewelry with wraparound patterns, custom instrument components, robotics parts with mounting features on multiple faces – projects that used to require either expensive shop time or elaborate workarounds become things you can just do.

Makera bundled a laser module into the same machine, which solves a problem anyone working on mixed-material projects has run into. Mills cut wood, plastic, soft metals well. Lasers excel at engraving and cutting leather, acrylic, veneer. Usually you need two machines, two software packages, and endless frustration trying to align work between them. Having both in one system with unified control means you can mill a relief pattern into wood and laser-engrave fine details in the same setup. For prototyping or small production runs, not having to move work between machines eliminates a huge source of error and wasted time.

Makera Studio unifies design, CAM, and machine control instead of forcing you to juggle multiple applications that barely talk to each other. More importantly, the Smart Machining Wizard actually does something useful: it looks at your geometry and suggests toolpath parameters. This matters because new CNC users consistently get stuck at exactly this point. You’ve got a 3D model, you know what you want to cut, but now you need to figure out feeds, speeds, stepover percentages, roughing versus finishing strategies. Get it wrong and you break expensive bits, ruin material, or spend six hours on a cut that should take forty minutes. Most CAM software assumes you already know this stuff. Makera’s wizard gives you a starting point based on your specific geometry and material, which won’t make you an expert overnight but might keep you from quitting in frustration after your fifth failed attempt.

Built-in presets cover relief carving, 4-axis operations, and PCB milling. PCB work is particularly brutal for beginners because you need precise depth control and appropriate feeds to get clean copper traces without destroying the board. Having proven workflows ready to use means these capabilities become practical tools instead of theoretical features you never figure out how to use properly.

Makerables, their content platform, lets users share projects and download models, which is table stakes for any modern fabrication tool. More useful is the AI modeling feature that generates 3D models or reliefs from images and prompts. You can argue about whether AI-generated designs are “real” making, but practically speaking, not everyone has years to invest in mastering Fusion 360. If you’ve got strong design sense but CAD software makes you want to throw your computer out a window, being able to go from concept to cuttable model without that barrier actually matters. Plenty of artists and designers who understand form, proportion, and aesthetics have been locked out of CNC work purely by software requirements.

Auto-probing and leveling handle surface calibration without manual tramming, which saves twenty minutes of tedious setup before every job. Integrated dust collection with ports for external collectors means you can run this indoors without coating your entire workspace in fine dust. The built-in camera lets you check on progress remotely and record time-lapses, catching problems before they get expensive and documenting your work without setting up separate recording equipment.

Pricing sits at an MSRP of $1,199, but early Kickstarter backers can secure the Z1 for $899. Compare that to quality 3-axis desktop CNCs without laser modules, 4-axis capability, or automated tool changing, and the Z1 looks legitimately competitive. So much so that over 6,000 backers have already pledged more than $8 million USD to secure the Makera Z1- with the campaign running until December 12 – before it begins shipping next month.

Makera is also offering a Z1 Pro configuration that addresses the performance ceiling some users will eventually hit. The standard Z1 uses lead screws and open-loop steppers, which work fine for most projects but can show limitations under sustained heavy use or when you’re chasing the tightest possible tolerances. The Pro upgrade swaps in ball screws across all three axes and adds closed-loop stepper motors. Ball screws reduce backlash and handle heavy cutting loads better over time, while closed-loop motors automatically correct position errors, eliminating the lost steps that can ruin a long job when you’re six hours in and something goes slightly wrong.

The upgrade costs $399 normally but Kickstarter backers can add it for $249. You’re looking at hardware changes that meaningfully improve accuracy and reliability rather than marginal spec bumps, which matters if you’re planning to use this machine for small production runs or client work where failures get expensive fast. The Pro units ship around two months after the standard Z1, starting March 2026, which makes sense given they’re swapping core motion components. Whether the upgrade is worth it depends on your use case – hobbyists and occasional users probably won’t notice the difference, but anyone planning serious production work or precision-critical projects should consider it seriously.

Click Here to Buy Now: $899 $1199 (25% off). Hurry, only 1052/7000 left! Raised over $8 million.

The post 4‑Axis CNC, Built‑In Laser, Auto Tool‑Change: The $899 Makera Z1 Replaces Your Entire Workbench first appeared on Yanko Design.