Author Archives: Sarang Sheth

Xiaomi launched a $107 compact photo printer while all other tech is becoming expensive

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Xiaomi picked a strange moment to launch cheap hardware, because the global gadget market spent 2024 and early 2025 conditioning buyers to accept higher prices. Phones, laptops, tablets, and wearables all saw price increases between 15 and 30 percent compared to 2022 models, and most brands blamed supply chain costs, component shortages, and inflation without offering much evidence that those factors still applied by mid-2025. Even Apple, which held iPhone pricing relatively steady for years, finally bumped the base iPhone 16 Pro up by $100 in late 2024. The price hikes stuck anyway, largely because competitors moved in unison and consumers had few alternatives. Xiaomi clearly saw an opening in categories where pricing had stagnated rather than spiked, and photo printers fit that description almost perfectly.

The Mijia Desktop Photo Printer 2 launched this week at 699 yuan (about $107) through Xiaomi’s Youpin crowdfunding platform, with a retail price of 799 yuan ($122) planned after the campaign closes. The device uses 4-color dye sublimation printing, supports 4 inch and 6 inch photo sizes, and connects via Bluetooth to phones, tablets, and computers without needing a Wi-Fi network. Xiaomi claims the per-print cost can drop to 0.99 yuan (roughly 14 cents) when using the 4 inch dual-print paper packs in higher-volume bundles, which would make it one of the cheapest per-print options in the compact photo printer category. The Mi Home app adds templates, AR photo playback, ID photo generation, and LUT color filters, leaning into the same app-native feature strategy Xiaomi uses across its smart home lineup.

Designer: Xiaomi

Canon’s Selphy CP1500 typically retails between $140 and $160 depending on region and sales cycles, and HP’s Sprocket models sit in a similar range. Fujifilm’s Instax Share SP-3 launched at $199 and has stayed there for years. None of those companies aggressively cut hardware prices, because photo printer economics depend heavily on consumables revenue. The paper and ribbon cartridges generate steady income long after the hardware sale, so keeping hardware prices high protects the perceived value of those refills. Xiaomi is attacking both sides of that model by undercutting the upfront hardware cost and claiming a per-print expense well below what competitors charge for equivalent output.

The per-print math is where Xiaomi’s really squeezing out the competition. Canon’s RP-108 paper and ink set costs around $40 for 108 4×6 prints, which works out to roughly 37 cents per photo. HP’s Zink paper for the Sprocket runs about 50 cents per 2×3 print, though the smaller format makes direct comparison tricky. Xiaomi’s claimed 14 cent per-print cost assumes you buy the dual-print 4 inch paper packs in bulk, but even the 6 inch professional paper is listed at 2.48 yuan (about 35 cents) per sheet during the crowdfunding campaign. That pricing could shift after launch, but the gap between Xiaomi and the incumbents is wide enough that even a modest increase would still leave Xiaomi ahead.

The Mijia Desktop Photo Printer 2 ships in China first, with no confirmed timeline for international availability. Xiaomi typically tests hardware on the domestic market before deciding whether to expand regionally, so this could stay China-only for months or longer. The bigger question is whether Canon, HP, and Fujifilm respond by cutting prices or whether they hold steady and bet that brand loyalty and distribution advantages keep Xiaomi contained to its home market.

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This Award-Winning Guitar Ditches the Strings, the Frets, and Most of the Body, and I Kind of Love It

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Look at RIFFMATE for a second and try to name what is missing. No strings. No fretboard bristling with metal wire. No solid slab of tonewood. What remains is the silhouette of an electric guitar sketched in mid-air, a skeletal frame that holds the double-cutaway outline everyone recognizes while hollowing out almost everything inside it. Those sweeping arms curving off the body trace exactly where a guitar’s shoulders and horns would sit, and then they float, framing empty space instead of filling it.

It takes real confidence to design an instrument by subtraction, and the RiffmateGT01 pulls it off with a straight face. Built by Shanghai’s Wo Tan Ni Chang Technology with industrial design from LKK Design Beijing, it collapses the guitar into two pieces, a slim touch-strip neck and a central pod holding the speaker, electronics, and acoustic chamber. The neck wears Roman numerals from I to VII where frets used to sit, and you play it by touch rather than by plucking steel. An AI layer shapes the sound and flattens the brutal learning curve that sends most beginners quitting by their fourth barre chord.

Designers: LKK Design Beijing

One-key disassembly lets the neck separate from the body, so the whole instrument folds into a small carry-on bag and clicks back together in seconds. Anyone who has wrestled a guitar into an overhead bin understands why that matters more than it sounds. The shells pop off too, which is where the personality lives, with RIFFMATE rendering in matte black, crisp white, a purple gradient, sunshine yellow, a blue-to-silver fade, and a warm walnut finish. Swapping those panels lets owners recolor the instrument or replace a scuffed part, stretching its lifespan instead of sending it to landfill. Modularity turns the guitar from a fixed object into a system that grows and changes with the person holding it.

The transparent render exposes a properly engineered acoustic cavity inside that central pod, with dedicated internal channels feeding a front-firing driver. That makes RIFFMATE self-amplifying, able to fill a room without an external amp or a tangle of pedals. The body wears a matte frosted texture over soft, rounded contours, sitting closer to a well-resolved Bluetooth speaker than to a slab-bodied Stratocaster. Those friendly surfaces read as age-agnostic, pitched at a curious ten-year-old and a lapsed forty-year-old guitarist alike. The whole object invites handling, exactly what an instrument built to lower the stakes should do.

Smart guitars have inched toward this moment for years, and LAVA did much of the groundwork by wrapping carbon fiber around a built-in touchscreen and turning the instrument into a full software ecosystem. RIFFMATE pushes that lineage somewhere stranger, questioning whether a guitar needs strings or a body at all, and joining a small wave of stringless designs rethinking the form from scratch. The honest caveat is that this remains award-stage industrial design, so we are judging intent and renders rather than a shipping spec sheet. As a vision, it lands as one of the boldest reinterpretations of the guitar to cross my desk in a while. Whether Wo Tan Ni Chang can build the object as beautifully as LKK drew it is the question worth watching.

The post This Award-Winning Guitar Ditches the Strings, the Frets, and Most of the Body, and I Kind of Love It first appeared on Yanko Design.

Toyota Might Give Us Flying Cars Before GTA 6

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The flying car has spent roughly a century as the world’s most reliable broken promise, forever arriving “in ten years” and forever staying on the concept-render carousel. So it means something that the newest headline reads less like a dream and more like a purchase order. Toyota and Joby Aviation have formalized a manufacturing joint venture, and the language around it is refreshingly unglamorous: productivity, quality, cost, scale. That is the vocabulary of a company that intends to build thousands of these things, not photograph one over a sunset.

The new entity carries the wonderfully bureaucratic name Joby Toyota Aero Manufacturing Preparation Company, with Toyota holding 51 percent and Joby the remaining 49. Toyota takes the majority seat, which tells you who is running the assembly line philosophy here. This is the company that gave the manufacturing world the Toyota Production System, the lean, waste-hunting gospel that reshaped how physical objects get built. Pointing that machine at an aircraft is the whole story. Joby has the eVTOL know-how. Toyota knows how to make the same beautiful object a few thousand times without the quality drifting.

Designers: Toyota & Joby

The aircraft at the center of it, the Joby S4, is genuinely lovely industrial design. Six tilting rotors let it lift straight up like a helicopter, then rotate forward to cruise like a fixed-wing plane, hitting around 200 mph while carrying a pilot and four passengers. All electric, notably quiet, and shaped with the kind of clean surfacing that makes it read as a consumer product rather than a machine. It already earned its party trick in April 2026, when it flew point to point across New York City, lifting from JFK and touching down at Manhattan heliports, compressing a two-hour ground slog into a seven-minute hop over the traffic.

None of this fell out of the sky. Toyota has quietly stood behind Joby since 2019, pouring in roughly 894 million dollars across the years to become the startup’s largest external shareholder. The relationship moving from checkbook to shared factory floor is the tell. Pilot production of the S4 is already underway at Joby’s Marina, California base, with the joint venture built to carry the company across the brutal gap between “we certified a prototype” and “we deliver at scale,” the exact chasm where most eVTOL dreams quietly die.

There are real hurdles left, chiefly FAA type certification for passenger flights, and the sky-taxi economics still have to prove themselves against a plain old ride to the airport. But when the planet’s most disciplined manufacturer takes a controlling stake in the most recognizable air taxi on Earth, the era of the render is closing. The flying car finally has a factory, a founder-run partner, and a boss who talks about lean production instead of moonshots. That is how the future usually arrives, not with a bang, but with a build sheet.

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This Presenter Remote Will Replace Your Mouse, Mic, AI Translator, and USB-C Hub

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The modern workflow is often a series of disconnected actions; typing in one window, clicking in another, and plugging in peripherals just to get started. What’s missing is a central instrument to orchestrate it all, a kind of conductor’s baton for our digital lives. Such a tool would need to do more than just advance a slide; it would need to capture spoken ideas, summon information on command, and translate language in real time, all from a single, intuitive point of control.

This is the thinking embodied in the PowerRider P1, a device that adopts the familiar form of a presentation remote for a far more ambitious purpose. Its slender, metallic body is designed to feel like a natural extension of the hand, but its power lies in consolidating complex tasks into simple actions. A dedicated AI button puts a language model in your palm, ready for quick queries. The integrated microphone turns the device into a voice input tool for instant transcription, while the clever detachable receiver doubles as a complete connectivity hub for power and video.

Designer: EGIOZR Tech

Click Here to Buy Now: $139 $199 (30% off). Hurry, only 18/100 left!

The PowerRider handles the fundamentals of presentation control with a modern upgrade. Traditional laser pointers work fine in a physical room, but they become invisible the moment you share your screen over a video call. The P1 addresses this with five digital highlight modes that appear directly on the shared display, visible to every participant regardless of how they’re viewing. These modes include a digital spotlight, a magnifier for fine details, and an annotation tool for marking up slides in real time. The device still includes a physical red laser for in-person settings, rated for visibility up to 100 meters, but the digital tools are clearly designed for the hybrid meeting environment that has become standard.

Artificial intelligence is woven throughout the device, accessible through a single button press. The AI feature connects to GPT-5 through the companion AI ONE software, offering 14 dedicated productivity categories that range from document conversion and mind mapping to code assistance and image analysis. You can ask questions, generate presentation content, or get real-time help while you’re speaking. The company has made a point of offering this AI access without monthly subscription fees, providing free tokens for everyday use. That decision removes one of the usual friction points with AI-powered hardware, where the upfront purchase is followed by ongoing costs.

Voice input mirrors something we’ve seen in smart remotes for TVs – except now it’s a work productivity feature. The PowerRider captures spoken words and converts them to text in over 50 languages, allowing you to dictate notes, emails, or meeting minutes without stopping your workflow. Real-time translation extends this further, making it possible to present to multilingual audiences with live interpretation. The built-in microphone also serves as a backup audio input for meetings, projecting your voice through any connected speaker system. This transforms the presenter into a wireless microphone when needed, a useful feature for larger rooms or when laptop microphones fall short.

The detachable receiver plugs into a USB-C port and acts as a wireless bridge to the presenter, but it also functions as a compact hub. The receiver supports 4K video output at 60Hz, 100W power delivery for laptop charging, USB-A data transfer, and a standard audio jack. This means you can connect a display, charge your laptop, and maintain wireless control with a single palm-sized dongle. It eliminates the need for a separate dock during presentations, consolidating connectivity into the same system that controls your slides.

The PowerRider weighs 63 grams, light enough to disappear in your hand during long sessions. A small LCD display on the body shows battery level, connectivity status, microphone activity, and the current time, providing at-a-glance information without needing to check your computer. The 280mAh battery delivers up to 10 hours of active use and can remain on standby for a full week. Wireless range extends to 10 meters, using either Bluetooth or 2.4GHz connectivity depending on your preference. Both modes can be toggled with a physical switch, offering flexibility for different environments and compatibility needs.

The device runs on Windows 10, Windows 11, and macOS 13 or later, covering the majority of professional users. It connects to monitors, televisions, and projectors without additional adapters, and the included accessories provide everything needed to get started. The package contains the presenter, the hub receiver, a protective travel case, USB-C and USB-A cables, and a card reader adapter for file transfers.

The PowerRider P1 is available now with early pricing starting at $139, a 30 percent reduction from its standard retail price of $199. A two-pack bundle is offered at $269, and a three-pack configuration reaches $415. Optional add-ons include power adapters ranging from 65W to 140W and an 8K HDMI cable for high-resolution setups. Shipping is calculated at $12 for most regions, with fulfillment expected to begin in October 2026.

Click Here to Buy Now: $139 $199 (30% off). Hurry, only 18/100 left!

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GoPro Just Crammed 6 Cameras Into One 50MP Sensor, And It Starts At $499

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Framework laptops let you swap the motherboard. Fairphone lets you replace the battery with a coin. Teenage Engineering builds entire product ecosystems around interoperability. Somewhere between the maker-movement idealism of the mid-2010s and the sustainability push of the pandemic years, modularity graduated from hobbyist curiosity to a legitimate consumer electronics strategy. Now GoPro has quietly joined that movement, and almost nobody has noticed because the packaging looks like a standard product launch.

The MISSION 1 lineup contains six distinct configurations built around a single hardware core: a 50MP 1-inch sensor and GP3 processor, wrapped in a rugged compact body waterproof to 20 meters. There’s the base MISSION 1, the MISSION 1 PRO, the PRO Grip Edition, the PRO ILS with a Micro Four Thirds mount, the PRO Creator Edition, and the PRO Ultimate Creator Edition. Preorders opened May 21, 2026, with the ILS and Creator variants shipping in Q3. Pricing wasn’t announced at launch, which is its own kind of tell. What GoPro has actually built here is a hardware platform wearing the clothes of a product line.

Designer: GoPro

The base MISSION 1 caps at 4K120 Open Gate and 8K30 in 16:9, positioned for creators who want the new sensor without paying flagship money. The MISSION 1 PRO unlocks 8K60, 4K240, and 1080p960 slow motion, all recorded in 10-bit with the GP Log2 profile for grading headroom. The PRO Grip Edition bundles a dedicated handle for run-and-gun work. The Creator and Ultimate Creator Editions add production accessories aimed at YouTubers who want a boxed kit rather than a shopping list. Every variant shares the same 14-stop dynamic range, the same 32-bit float audio, and the same waterproofing without an external housing. Firmware caps and bundled accessories, in other words, do all the heavy lifting across five of the six SKUs.

Micro Four Thirds compatibility on the PRO ILS is where the platform argument stops being subtle. The mount opens the door to hundreds of existing lenses from Panasonic, OM System, Sigma, Voigtländer, and Laowa, meaning GoPro inherits nearly two decades of glass engineering without designing a single optical element themselves. HyperSmooth stabilization keeps working with any rectilinear prime, which is genuinely wild given how stabilization algorithms usually assume a fixed lens with known distortion characteristics. The body stays waterproof despite the mechanical mount, which required custom sealing work that GoPro has been notably quiet about. This is Framework’s motherboard-swap philosophy transplanted into a category where interchangeable parts were reserved for cameras that cost five times more. MFT also carries mature adapters for Canon EF, Nikon F, and PL cinema glass, quietly extending the effective lens library into the thousands.

Six SKUs from a single sensor line is also a hedge, and a smart one. If the ILS flops with videographers because Blackmagic and Panasonic own that mindshare, the base MISSION 1 still sells to adventure creators on brand recognition alone. If 8K60 pricing scares off the semi-pro tier, the 4K120 base model catches the mid-market. The recent industry chatter that GoPro may be for sale following the MISSION 1 pivot reads very differently through this lens. Whether Nicholas Woodman is building for the next decade or quietly pitching to potential acquirers like DJI or Sony, a modular platform tells a far more compelling story than a single hero product ever could. The action camera market that GoPro invented has been eating itself for years, and platforms tend to survive longer than products in categories that are actively contracting.

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Who is Apple’s New Chief Hardware Officer: Meet Johny Srouji, The Man Shaping Apple’s Roadmap

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Every great Apple product from the last thirty years came out of a partnership. Steve Jobs had Jony Ive, a designer with more operational power than anyone at Apple except Jobs himself. Tim Cook inherited that dynamic in 2011, and over the next fifteen years the industrial design studio slowly lost its seat at the executive table, with finance and operations gaining a larger say over product direction. Bloomberg’s Mark Gurman has described the current studio as a shell of what it used to be, briefed by other teams rather than briefing them. That is the Apple John Ternus takes over on September 1, 2026, and his choice of number two says everything about where the next decade is headed.

Johny Srouji became Apple’s Chief Hardware Officer on April 20, 2026, a title that did not exist a day earlier. The role folds Apple’s hardware engineering group, previously run by Ternus himself, into the hardware technologies organization Srouji has led since 2015. He now controls silicon, batteries, cameras, sensors, displays, storage controllers, cellular modems, product design engineering, and every reliability lab in Cupertino. Ternus is his only boss, which effectively makes Srouji operational number two at a four trillion dollar company. The last time one Apple executive held this much hardware authority, Steve Jobs was still alive and Bob Mansfield was running the show.

Srouji was born in 1964 in Haifa, the third of four children in a middle-class Arab Christian family, his father a carpenter who built casting molds by trade. He studied computer science at Technion, graduating summa cum laude on his bachelor’s and magna cum laude on his master’s. Before Apple came calling, he had already done processor design at Intel Austin and managed IBM’s POWER7 CPU. Bob Mansfield recruited him in 2008 to build a chip Apple did not yet know how to design, which became the A4 that launched inside the first iPad and iPhone 4. Colleagues describe him as no-nonsense, allergic to technical vagueness, and unwilling to accept anything less than the hard truth about what silicon can and cannot do.

Every A-series and M-series chip you have ever used came out of Srouji’s org. His team pulled off the 64-bit A7 in 2013 that caught Qualcomm completely flat-footed, then engineered the M1 transition in 2020 that made Intel Macs obsolete overnight. Apple’s whole vertical integration story, the one that lets a MacBook Air outperform Windows laptops twice its price on battery life, is essentially his life’s work. His team also introduced the Neural Engine in 2017 with the A11 Bionic, quietly laying the groundwork for on-device AI half a decade before the industry decided AI was a talking point. The man who liberated Apple from Intel’s silicon almost got poached by Intel to be their CEO in 2019.

Ive read Dieter Rams and treated industrial design as the ordering principle of a product, sketching an object first and asking engineering to solve for it. Srouji operates from the opposite pole, treating silicon as the ordering principle and letting form factor, material, and thermal envelope adapt to what the chip can do at what power draw. The $599 MacBook Neo Apple launched in March 2026 is the perfect case study, because it only exists as a product because the A18 Pro from last year’s iPhone 16 Pro became efficient enough to run macOS without cooking itself or eating the battery. Ternus led the keynote and got the credit, but Srouji built the runway. That reframing of where design begins, at the wafer rather than the render, is the first coherent thesis about form and function anyone has articulated at Apple since Ive walked out in 2019.

Ternus and Srouji together cover the full stack from atom to product enclosure, which is the tightest hardware leadership Apple has run since Jobs, Ive, and Jon Rubinstein were setting product direction from the same conference room. Srouji has already started restructuring aggressively, splitting hardware into five groups and moving product design authority from veteran VP Kate Bergeron to Shelly Goldberg on Mac and Dave Pakula on Watch, iPad, and AirPods. He has also stood up a new Ecosystems Platforms and Partnerships team led by Matt Costello and Kevin Lynch, the latter of whom runs Apple’s still-secret robotics group. In his internal memo to staff, Srouji wrote that he intends to deepen integration between the silicon teams and the product-creating teams. Translation: the chip designers will now sit closer to the people deciding what the next iPhone actually looks like.

Everyone keeps asking whether Ternus and Srouji will turn Apple into a Xiaomi or Samsung style product factory, launching sub-brands and price tiers across every possible category. I don’t think that is where this goes. Xiaomi wins on volume and value engineering, Samsung wins on being first to try every new form factor, and Apple under Srouji looks positioned to do something closer to the Jobs-era iPod strategy: one core capability, several related form factors, each tuned to a different lifestyle. AI camera glasses in 2027, camera-equipped AirPods, a rumored wearable pendant, a HomePad with a swiveling display, and a foldable iPhone all sit on the same roadmap, and they are fundamentally the same argument as iPod versus Nano versus Shuffle was in 2005. Discipline stays intact, but the surface area for hardware expands into whatever new form the current silicon can actually support without turning your pocket into a hand warmer.

Srouji’s promotion is Apple’s bet that AI-era consumer devices will be won by whoever can co-design chip, sensor, battery, and enclosure as a single integrated object. That is a bet Apple can uniquely make because it already owns the whole stack, and one that Meta, Google, and even OpenAI (currently building its own hardware future with Ive, Evans Hankey, and Tang Tan poached straight out of Cupertino) still cannot fully replicate. The risk sits on the software side, where Apple’s own AI models trail rivals and Siri keeps getting delayed for reasons nobody at Apple wants to explain in public. Srouji cannot fix that himself. What he can do is make sure that whenever Apple finally ships a competent generative model, the hardware waiting to receive it has been designed around what the model actually needs, rather than retrofitted around it after launch.

The post Who is Apple’s New Chief Hardware Officer: Meet Johny Srouji, The Man Shaping Apple’s Roadmap first appeared on Yanko Design.

We’re Officially in the Titanium Travel Case Era, Soft-Shell Suitcases Had a Decent Run…

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Pull up the baggage carousel at any major international airport and you will see a parade of soft-shell fabric or hard-shell plastic cases, most of them a muted color palette, most of them indistinguishable from one another, most of them showcasing the abuse of frequent travel (a massive scratch here, ripped fabric there, disintegrated airline stickers, cracked wheels that creak when dragged). That is the baseline the travel industry has accepted for decades. The expectation has been function within limits, not function beyond them.

Titaner’s Voyager arrives as the carry-on that resets that expectation entirely. The 20-inch titanium shell is ribbed with chevron patterning that doubles as structural reinforcement, sealed without a single zipper on its exterior, and coated with a hydrophobic treatment that sends water beading off its surface. Designed for travelers who see their gear as long-term equipment rather than seasonal accessories, it signals a broader shift in what premium carry-ons are supposed to be made of.

Designer: Titaner

Click Here to Buy Now: $579 $1079 ($500 off). Hurry, only 19/290 left! Raised over $336,000.

The shell physically, visually, practically, and literally sets the Voyager apart from any other travel carry you’ve currently got stowed underneath your bed or in your closet. Made from Grade 1 pure titanium, the kind typically reserved for aerospace applications and medical implants, the Voyager carries the same corrosion resistance and impact tolerance that have made the material legendary in other industries. Titanium does not rust, does not dent easily, and ages with a patina that adds character rather than degradation. The angled chevron texture machined across its surface does three things at once: it creates visual drama, it distributes impact force across a wider structural field, and it hides minor surface wear far better than a polished or matte finish ever could. This is luggage that looks more refined the longer you own it.

The zipperless body is where Titaner makes its clearest departure from conventional luggage logic. Most hard-shell cases still rely on zipper closures because they are familiar, flexible, and cheap to manufacture. They are also the first thing to fail under repeated stress. The Voyager uses a continuous waterproof gasket seal instead, wrapping the entire case perimeter in a material that keeps rain out and dust at bay. Pop the latches, and the case opens in two clean halves with a 180-degree flat lay. No zipper teeth to snag. No fabric track to tear. Just a mechanical hinge and a seal that either works or it does not. It is the kind of decision that makes soft-shell luggage feel like it was designed around cost, not longevity.

Travel is a series of small interactions repeated hundreds of times: extending the handle, rolling through terminals, lifting it into overhead bins, setting it down on uneven pavement. Titaner has refined each one. The telescoping handle uses a 13-stage adjustment system with no visible punch holes running down the tube, which means a cleaner visual line and a mechanism that locks at every height with a button press at the base. The handle grip itself uses a slow-return damper, so when you let go, it eases back into place instead of snapping against the shell. The eight independent spinner wheels are modular, which means if one gets damaged after years of airport abuse, you replace that single wheel instead of the entire case. Underneath, a spider-web reinforcement structure distributes the stress from each wheel across the corner assembly, so no single impact point can compromise the frame. Even the side feet are trapezoidal, designed to keep the case stable when stood upright and lifted without effort when you need to move it.

Inside, the Voyager offers a layout most frequent travelers will recognize: dual compression straps, zippered divider panels, interior pockets on both halves. The lining is stain-resistant and wipes clean. But the real interior innovation is the optional Waterproof Vault, a removable airtight inner bag with a triple-side zipper seal. Cameras, drones, passports, medication, anything that cannot afford even brief water exposure gets sealed inside. The vault can also be fitted with modular foam inserts for shock protection, turning the Voyager into a hybrid between a carry-on and a protective equipment case. It is the kind of feature that expands the product’s identity beyond clothing transport into the realm of gear protection, where soft-shell luggage has never been able to compete.

What Titaner has done with the Voyager is take the material obsession and mechanical precision that defined its EDC products (pens, multi-tools, pocket knives) and scaled that philosophy up to travel dimensions. The result feels less like luggage in the traditional sense and more like a precision mobility tool. It is cabin-approved at 20 inches, light enough to lift with one hand despite the titanium construction, and visually distinct enough that you will spot it on a carousel from across the terminal. The chevron-patterned shell catches light at angles soft fabric never could. The hardware has the same machined confidence you would expect from a high-end knife or watch. Travelers who have spent years cycling through polycarbonate shells and torn nylon cases will recognize this as something different: a carry-on designed to outlast your travel habits, not replace them every few seasons.

The Titaner Voyager is currently available at $579, discounted over the $1079 MSRP for the base 20-inch carry-on in titanium, with options to add the Waterproof Vault module and additional accessories. The campaign ships internationally, with estimated delivery starting in late 2026.

Click Here to Buy Now: $579 $1079 ($500 off). Hurry, only 19/290 left! Raised over $336,000.

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Moon-Inspired Japanese Knife Blends Damascus Steel With Gallery-Worthy Material Design

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At a glance, TSUKI feels like the kind of knife made for close-ups. The blade has a dark, hammered finish near the spine that transitions into a bright Damascus wave pattern near the cutting edge. The handle shifts from warm Sakura-birch grain into a cloudy, translucent resin block that catches light like polished stone. Together, those details give the knife a strong visual identity shaped around the moon without turning into costume design. The hammered texture recalls lunar craters, the Damascus layers evoke ripples of moonlight on water, and the resin handle is meant to mimic the serene shimmer of a moon’s reflection. It’s a cohesive design language applied across every surface of the knife.

The craftsmanship behind it is just as deliberate as the aesthetic. The blade is built around VG-10 steel from Fukui, a high-hardness material known for edge retention and corrosion resistance, wrapped in 67 layers of Damascus for both strength and visual drama. Sharpening happens in Sakai, Osaka, a city with a 600-year legacy in Japanese cutlery production, which means the edge work benefits from generations of specialized technique. The knife arrives in a custom paulownia wood box from Yamaguchi, secured with a Mizuhiki plum knot tied using traditional Nagano cordwork. Even the interior label uses Echizen washi, a handmade paper with a 1,500-year lineage. What makes TSUKI compelling for a design audience is that it doesn’t just invoke Japanese craft as a branding layer. It assembles contributions from five distinct regional traditions into a single kitchen tool, each one adding material credibility and cultural weight to the final product.

Designer: JP-crafts

Click Here to Buy Now: $142 $219 (35% off) Hurry! Only 14 days left.

The blade profile is a 210mm gyuto, which translates to a versatile all-purpose chef’s knife in Western kitchen terms. At 150 grams and 1.7mm thick, it sits on the lighter, more agile end of the spectrum. The hammered finish does double duty, giving the blade its crater-like visual signature while creating micro air pockets that help food release cleanly during slicing. The Damascus layering wraps the VG-10 core in alternating steel alloys, which gives the blade that flowing, organic pattern and adds structural integrity. The edge is double-beveled, so it works equally well for left- and right-handed users. JP-crafts, the brand behind TSUKI, positions this as a knife built for daily prep work, something that holds up to routine vegetable chopping, protein breakdown, and general kitchen tasks without losing its sharpness or requiring constant maintenance.

The Sakura-birch section offers a natural, tactile warmth, while the resin component brings a sculptural, almost translucent quality that sets the knife apart from traditional wa-handle designs. The resin comes in black or white variants, and in photos it reads as cloudy, marbled, and faintly luminous. That material transition from wood to resin gives the handle a hybrid identity, part craft object, part industrial design experiment. The shape itself is contoured for grip, with a slight taper that’s meant to feel secure during extended use. It’s a detail that matters because this kind of knife is meant to live on a magnetic strip or in daily rotation, not tucked away in a drawer.

The paulownia box is lightweight and fine-grained, a traditional material used in Japan for storing valuable items because it resists moisture and insect damage. The Mizuhiki plum knot is a small but culturally legible gesture, a symbol of strong bonds often used in ceremonial gift-giving. Opening the box reveals the knife nestled in a custom-fitted interior, with calligraphy labels and thoughtful staging that makes the unboxing experience feel like part of the product itself. For someone buying this as a gift or as a self-purchase with emotional weight attached, that kind of care in presentation elevates the entire interaction.

Early Bird pricing for a single gyuto starts at $142, with the regular MSRP landing at $219. A two-knife set that includes a petty knife is available for $226. The Kickstarter campaign also offers add-ons including a Nakiri vegetable knife, a Sujihiki slicing knife, whetstones, and a leather strop. Estimated delivery is slated for later this year, with shipping available worldwide.

Click Here to Buy Now: $142 $219 (35% off) Hurry! Only 14 days left.

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This Pure 3D Relief Map Sees America as Land First, Borders and Politics Later

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What is a country? The question usually leads to answers about people, laws, culture, and shared history. We define nations by their political structures and the lines we draw to contain them. These are human constructions, frameworks built to organize society and create a sense of collective identity. A country becomes a set of agreements, a shared story we tell ourselves about who we are. But underneath all of that lies a more fundamental truth, an identity that is millions of years older than any government.

This is the truth captured by Muir Way’s 3D Raised Relief Map. It answers the question by presenting the United States as a physical entity, a vast and intricate piece of the Earth’s crust. The map argues that the country’s primary identity is its terrain. The story of America is inseparable from the formidable barrier of the Rockies, the fertile plains of the Midwest, and the strategic harbors of its coasts. It is a beautiful and potent reminder that a nation is, before anything else, a piece of land.

Designer: Muir Way

Rendered entirely in white, the piece hangs on the wall more like a sculpture than a conventional map. There are no colors to decode, no labels to parse, and no political borders to trace. Shadow does all the work instead. Light raking across the surface reveals the Rockies as a mass of jagged, compressed ridges, the Appalachians as a quieter but persistent ripple running along the eastern flank, and the Great Plains as a kind of vast, deliberate calm between them. The Great Lakes read as deep, smooth voids, which gives the northeastern quadrant an almost architectural quality. The effect is genuinely striking, the kind of thing that looks like it belongs in a museum dedicated to geography rather than a shop dedicated to maps.

Muir Way, a San Diego-based map studio, builds each piece by digitally scanning and georeferencing source map data, then aligning it with modern elevation data to cut a precise three-dimensional mold. The surface is then printed on durable plastic and vacuum-formed over that mold, a process that translates topographic information into physical depth with real fidelity. The finished piece is mounted to foamboard and hand-finished. NASA elevation data underpins the accuracy of the terrain, which means the relief is cartographically honest rather than decoratively approximated. Muir Way works primarily with materials made in the USA, and a portion of the proceeds from each sale goes to outdoor-related charities including the Sierra Club Foundation, Leave No Trace, and the Waterkeeper Alliance.

The map is priced at $199, with a sale price currently from $169.15 through the Muir Way website. A solid walnut frame, visible in most of the product photography and providing a warm contrast to the stark white surface, is available separately. As a July 4 gift, a housewarming piece, or simply an object for someone who takes their walls seriously, it holds up.

The post This Pure 3D Relief Map Sees America as Land First, Borders and Politics Later first appeared on Yanko Design.

These Ceramics Look Hand-Drawn in Black Ink, but They’re Actually Porcelain Pretending to be Paper

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The potter’s wheel is the oldest mass-production machine humanity ever built, a spinning disc that let a single craftsman turn out dozens of near-identical bowls before lunch. That gift arrived with a tax written into physics, because anything formed on a wheel is a profile revolved around a central axis, exactly like a shape cut on a lathe. Bowls, cups, vases, and plates all inherit the same radial DNA, which is why round has quietly ruled tableware across every civilization that ever touched clay. Serax’s Carte Blanche collection abandons the axis completely, swapping revolved curves for faceted, folded geometry that no wheel could ever spin. It then pulls a second trick, flattening the porcelain visually until a solid cup reads as a drawing of one.

Dutch designer Annebet Philips developed the range with Belgian brand Serax, and she began the whole thing in cardboard rather than clay. She cut childlike shapes with deliberately uneven edges, treating the blank page and the humble cutout as her starting brief, which the name Carte Blanche translates almost literally. Those paper prototypes became the design language itself, their creases and wobble carried into glazed porcelain instead of being sanded into anonymity. Hand-painted black lines trace every fold and seam, lending each cup, saucer, and teapot the flattened quality of ink on paper. The collection opened as a coffee and tea service, espresso through milk jug, before expanding into plates, a breakfast bowl, an egg cup, and a salt and pepper set.

Designers: Annebet Philips and Serax

Ceramics is the most stubbornly three-dimensional of the applied arts, since clay has mass and casts a shadow no matter how thin you throw it. Carte Blanche fights that condition with pure graphic force, using a heavy black outline to convince your eye it is reading a two-dimensional sketch rather than a glazed object with genuine volume. The octagonal facets do half the work, catching light in flat planes that refuse the soft gradient a rounded surface would hand you. Photographed straight on, a cup collapses into what looks like a cartoonist’s line drawing, the handle reading as a doodled loop rather than a fired ceramic ear. Philips is forcing a volumetric craft to impersonate the flat page it was first sketched on.

Trompe-l’œil (or ‘deceives the eye’ in French) ceramics have a rich recent lineage, and French artist Jacques Monneraud has built a following throwing porcelain so convincingly corrugated that studio visitors ask whether he has switched to actual cardboard. Monneraud freezes the material itself, pressing a handmade wooden tool into leather-hard clay to fake corrugation and mixing glaze to imitate strips of packing tape. Philips chases something else, freezing the gesture rather than the substance, the outline and the fold instead of the fibrous grain. Where Monneraud wants you fooled until you lift the piece, Philips wants you to register the drawing instantly and enjoy the contradiction. Both approaches prove that a black line, correctly placed, reshapes how we read an object more than any amount of sculpted volume.

YD watched the same optical idea scale up to 1,578 horsepower a few days ago, when Bugatti unveiled the one-off W16 Mistral “Blanc Éternel” wrapped in hand-painted black linework. That car traces the NURBS surface patches from its own digital model across a porcelain-white body, exposing the CAD wireframe that normally stays hidden inside the software. The effect is identical in spirit to Carte Blanche, a three-dimensional object drawn back down into black lines on white, geometry converted into graphic. One costs somewhere north of five million dollars and eulogizes a dying engine, the other holds your morning espresso and survives a dishwasher cycle. Both understand that a contour line is the fastest way to make a solid thing look like an idea of itself.

The illusion grows directly from how the objects were designed, the paper maquette preserved in glaze rather than discarded once the shape was set. Every line being painted by hand means no two pieces match exactly, so the industrial porcelain underneath still carries a one-off wobble. The pieces stay microwave and dishwasher safe, which keeps the concept from retreating into the vitrine where most trompe-l’œil ceramics eventually go to die. Philips has taken the two assumptions a potter’s wheel hardwired into the craft, that vessels are round and that vessels look solid, and quietly canceled both in a set you can actually eat off. That is a rarer achievement than the cheerful, cartoonish surface first lets on.

The post These Ceramics Look Hand-Drawn in Black Ink, but They’re Actually Porcelain Pretending to be Paper first appeared on Yanko Design.