Author Archives: Ida Torres

A Fan Actually Designed Man City’s Third Kit With Puma’s AI Platform

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No matter how you feel about generative artificial intelligence, you can’t deny the fact that it has democratized creativity. Whether you have design experience or an art background, or neither, you now have tools you can use to bring your creative juices to life. Popular English club Manchester City and PUMA developed a platform to help fans express their fandom through original kit designs, and now they’ve actually let one lucky fan’s concept become the club’s official third kit.

Manchester City’s 2026/27 Third Kit is the first AI-generated fan design to be worn by a professional football club on the pitch and sold commercially. It was created using the PUMA AI Creator, a tool that turns written prompts into full kit designs in just a few seconds. Lifelong Manchester City fan and photographer Elliott Lacey’s creation was chosen from more than 180,000 designs submitted on the platform.

Designer: Elliott Lacey and PUMA

For those not familiar with football (soccer, to American audiences), a club’s third kit is just as important as its home and away kits, and it sometimes even outsells the two, provided it’s well designed, of course. Lacey used the platform to design his submission during his lunch break, and PUMA brought it to life with the brand’s signature quality. The project reflects a broader push by the sportswear brand to blend technology, football culture, and fan community in a way that hasn’t really been attempted before at this level of professional sports.

The design itself features a white base split by a central two-tone sash in sky blue and dark navy, finished with a gradient technique that shifts the pattern’s dimension depending on the light and viewing angle. Manchester City fans are used to seeing the club sporting an almost pure sky-blue kit, so this white base with blue accents, while still very much true to the club’s identity, feels like a refreshing twist.

What makes this launch even more compelling is the scale of fan involvement behind it. Over 180,000 designs were submitted through the PUMA AI Creator, generating 1.7 million platform ratings from supporters worldwide before the field was narrowed down to a final ten for a public vote. That kind of grassroots participation shows this wasn’t just a marketing gimmick, it was a genuine, global collaboration between a club and the people who love it most.

Manchester City’s marketing leadership framed the project as an extension of the deep bond between the club and its global fanbase, describing the initiative as a way of turning ordinary supporters into designers for a day, with AI as the bridge that made it possible. On the PUMA side, leadership described the collaboration as sitting squarely at the intersection of technology, football, and community, a rare combination that doesn’t come together often in professional sports branding.

For Lacey himself, the experience was described as surreal and deeply personal. Having grown up as a City supporter, he never expected that a design he put together on a lunch break would end up gracing the shirts of the players he idolized. It’s the kind of story that turns an everyday supporter into part of club history, and it’s exactly the sort of narrative that makes this kit special beyond its good looks.

For collectors, this kit represents something more than fresh apparel for the upcoming season. It’s a cultural milestone, the first tangible proof that AI-assisted design can move from novelty experiment to something worn by elite athletes and cherished by fans around the world. Owning one means owning a piece of a genuine “first” in sports history, not just another seasonal jersey.

Whether you’re a die-hard Cityzen, a design enthusiast curious about where AI creativity is headed, or simply someone who appreciates a good underdog story, this kit checks every box. It’s proof that passion, paired with the right tools, can turn an ordinary lunch break into a legacy moment. And as more clubs watch how enthusiastically fans embraced this process, don’t be surprised if Elliott Lacey’s story becomes the blueprint for how sports brands invite their communities into the creative process for years to come.

The post A Fan Actually Designed Man City’s Third Kit With Puma’s AI Platform first appeared on Yanko Design.

A Tower That Finally Builds Around Its Forest Instead of Over It

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Most residential towers in America solve one problem and create three more. They stack people vertically, sell the view as the amenity, and call it a day. What gets lost is everything that used to make a neighborhood feel like one: the corner bodega, the shade tree you actually stop under, the sense that your building belongs to the land instead of just occupying it. Walk through most new luxury developments in Miami, Austin, or Denver and you’ll notice the same pattern. The site gets cleared first, then the glass box goes up, then a landscaper is hired to fake back some greenery for the marketing renders.

There’s a second, quieter problem underneath that one. Architecture awards, and honestly most architecture headlines, tend to celebrate the towers rich people buy, not the housing most people actually need. Middle-income buyers get squeezed out of both the conversation and the design attention. So when a project comes along that’s built specifically for that gap, and wins on merit rather than price tag, it’s worth paying attention to.

Designer: Carazo Arquitectura

That’s what makes LTR1 interesting. Designed by Carazo Arquitectura, a Costa Rica-based studio working across Latin America, the project sits in Nuevo Cuscatlán, in the metropolitan area of San Salvador, El Salvador. It’s a 60,265-square-meter mixed-use development with more than 400 middle-income homes, and it just won both the Jury Winner and Popular Choice Winner titles at the 14th Annual Architizer A+Awards, in the Unbuilt Multi-Unit Housing category for buildings over ten floors. Winning both isn’t common. It means the critics and the public actually agreed on something for once.

The reason they agreed is right there in the plan. Instead of clearing the site, Carazo Arquitectura designed a curved tower that wraps around an existing forest, letting the preserved landscape organize the whole building rather than sitting beside it as decoration. Housing, retail, restaurants, coworking space, wellness facilities, and public gardens are folded into the same structure, stacked and threaded around the trees instead of over them. It reads less like a building with a view and more like a neighborhood that happens to be vertical.

I’ll admit I’m a sucker for a building that pays attention to where it’s standing. The roofline isn’t arbitrary either. The architects photographed the profiles of El Picacho peak and the San Salvador Volcano from the site and translated those silhouettes into the building’s geometry, so the tower is quite literally shaped by the mountains around it. Carazo calls this research framework Tropical Vertical Urbanism, which is a mouthful, but the idea underneath it is simple: dense vertical living doesn’t have to mean cutting a place off from its own climate and terrain.

None of this should feel foreign to an American audience. We’re having the exact same argument here, about missing middle housing, about whether density has to mean sterility, about whether remote work and wellness culture deserve real architectural space instead of a gym in the basement. LTR1 answers all three at once without turning into a manifesto. It just builds coworking and wellness into the tower the same way it builds in the forest, as infrastructure, not amenity.

The project hasn’t broken ground yet, and I won’t pretend an unbuilt tower changes housing policy. But juries and the public rarely agree on the same building unless it’s touching something real. What LTR1 gets right is refusing the trade-off everyone assumes is necessary, that you either get density or you get nature, that you either build for the middle class or you build for awards. A forest that survives the construction of four hundred homes around it is a small, specific kind of promise. It’s the kind worth watching to see if it actually gets kept.

The post A Tower That Finally Builds Around Its Forest Instead of Over It first appeared on Yanko Design.

Finally, Learning Robotics Doesn’t Cost a Five-Figure Lab

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For most of the last decade, if you wanted to actually build and train a robot, you needed one of three things: a university lab, a five-figure budget, or a job at a tech company willing to foot the bill. The tools existed, but the entry price kept ordinary curious people locked out of the room. That gap between “I want to understand AI in the physical world” and “I can actually afford to try it” has been the quiet, unglamorous problem holding back a whole generation of hobbyist roboticists.

Microduck, the new pre-order from French robotics company Pollen Robotics and AI platform Hugging Face, closes that gap for $399. It is a 25-centimeter biped that walks, sits, crouches, picks small objects up with its beak, and gets back up on its own after a fall. It even roller-skates. Under a shell built with 15 motors, a camera, a depth sensor, and two IMUs, it runs on fully open-source software, which means you are not just buying a cute desk companion, you are buying a real, hackable platform for training reinforcement learning models on hardware you can hold in one hand.

Designer: Pollen Robotics

Pollen Robotics is not new to this space. Last year the team launched Reachy Mini, a small desktop robot built purely for face-to-face interaction, and more than 10,000 of them found homes with developers and tinkerers around the world. Microduck is what happened when that same team asked a different question: what if the robot did not stay on the desk at all, but actually moved through your house? That shift from stationary companion to mobile, fallible, get-back-up-and-try-again machine is, to me, the more honest representation of what learning robotics actually looks like. Real robots fall down. Good ones figure out how to stand back up.

I will admit the duck framing initially struck me as a marketing gimmick, the kind of cute mascot skin slapped onto serious tech to make it more shareable. But the more I read about the design choices, the articulated beak that doubles as a gripper, the roller-skate foot swap, the four soft colorways named Cream, Graphite, Lavender, and Sky, the more it felt deliberate rather than decorative. A humanoid robot falling over looks like failure. A duck robot falling over and waddling back up looks like a duck being a duck. That emotional permission to fail without embarrassment might be the smartest design decision in the entire product, because it lowers the psychological barrier to experimentation just as much as the price tag lowers the financial one.

Weighing in under 800 grams and priced before taxes and shipping, Microduck ships to North America, Europe, and the UK before Christmas 2026. Hugging Face CEO Clem Delangue called it part of an effort to “democratize physical AI and world models,” and whatever you think of Silicon Valley mission statements, the market response backed it up fast. Within roughly a day of pre-orders opening, demand reportedly pushed sales past the $26 million mark and the duck went to backorder. That is not a niche hobbyist purchase pattern. That is a signal that a lot of Americans, tech-curious but priced out of serious robotics until now, were simply waiting for an affordable, unintimidating way in.

There is a broader mood shift happening in how the country talks about AI right now, somewhere between exhausted and skeptical, tired of chatbots that talk in circles and promises that never quite land in the real world. Microduck feels like a small, tangible answer to that fatigue. You cannot hug a language model or watch it recover from a stumble. You can with this. For $399, families, students, and weekend tinkerers get a genuine on-ramp to physical AI, not a toy pretending to be smart, but a real machine willing to be clumsy in front of you while it learns.

Pollen Robotics has been upfront that Microduck will not solve robotics’ hardest problems, and it should not have to. What it offers instead is something rarer than a breakthrough: a starting point that is actually within reach.

The post Finally, Learning Robotics Doesn’t Cost a Five-Figure Lab first appeared on Yanko Design.

This Surgical-Steel Toothbrush Was Never Meant to Be Thrown Away

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I own a lot of things I’ll probably never actually wear out. A leather bag that’s outlasted three apartments. A watch that was my grandfather’s. A cast iron pan that will likely be handed down long after I’m gone. And then I have a bathroom drawer full of plastic toothbrushes, each one used for a few months and tossed, none of them meant to last, none of them meant to matter.

That contrast is what caught my attention when I came across the Berninox 316, a toothbrush designed by Swiss product designer Julien Bernard that flips the entire logic of oral care on its head. Instead of a disposable object you replace every few months, you get a handle made from 316L surgical stainless steel, the same alloy used in medical instruments, paired with a small replaceable head made from recycled ocean-bound plastic. When the bristles wear down, you don’t throw away the whole thing. You just click off the head and snap on a new one.It sounds almost too simple, which might be exactly why it works.

Designer: Julien Bernard for Berninox

What strikes me most about this design isn’t the material, though stainless steel is obviously the headline. It’s the clip system holding the head in place. Berninox has a patent pending on it, and once you understand why, it makes sense. Anyone who has used a razor with interchangeable blades knows the annoyance of a head that wiggles or pops off at the worst moment. Getting that mechanism right, so it feels secure during brushing but still releases easily when you want to swap it, is the unglamorous engineering work that actually makes a product usable long term. Good design is rarely about the flashy part. It’s about the hinge nobody notices until it fails.

I also appreciate that this wasn’t dreamed up purely as a sustainability gesture. The brand worked with dental professionals during development, which matters more than it might seem at first glance. Plenty of eco-conscious products lead with their environmental story and treat function as an afterthought. Berninox seems to have built the case for durability and the case for actually brushing your teeth well at the same time, rather than picking one.

There’s also something quietly satisfying about the ocean plastic detail. The heads are made through a partnership with a Swiss initiative that collects ocean-bound plastic from Southeast Asia before it ever reaches the water. It’s a small volume of material in the scheme of global plastic pollution, sure, but I don’t think that’s really the point. It’s a demonstration that a mundane, overlooked object like a toothbrush can carry a slightly bigger story if someone bothers to design it that way.

I’ll admit I’m a sucker for objects that feel like they were made by someone who actually cared about the details, not just the marketing copy. A stainless steel handle that can go into the dishwasher or be steam sterilized isn’t just a hygiene feature, it’s a signal that the people behind it were thinking about how the object behaves in real life, not just how it photographs on a shelf.

Is a forty-dollar toothbrush going to be for everyone? Probably not. Plenty of people will look at their nine-pack of drugstore toothbrushes and see no reason to change. And that’s fair. But I think there’s a growing appetite, especially among people who already collect watches, pens, or well-made kitchen tools, for everyday objects that don’t pretend to be disposable. We’ve spent decades normalizing things designed to be thrown away, and I think we’re slowly correcting course, one small object at a time.

What I like most about the Berninox 316 is that it doesn’t ask you to change your habits. You still brush your teeth the same way you always have. It just quietly changes what happens to the object in your hand once the bristles wear out. Sometimes the most meaningful design shifts aren’t the loud ones. They’re the small, practical ones that make you rethink something you never thought twice about, sitting right there in your bathroom cup.

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Meet the Robot Dog Built to Climb Your Stairs With Your Packages

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I’ve lost count of how many times a delivery robot has shown up in a video, rolled confidently across a parking lot, and then just stopped at the base of a staircase like it hit an invisible wall. That has always been the real bottleneck in last-mile delivery, not the miles of open road but the last twenty feet of stairs, curbs, and uneven walkways leading to an actual front door. Robot.com’s new concept, R-dog, is the first design I’ve seen that treats that problem as the whole point rather than an afterthought.

R-dog is a four-legged robot with wheels built into its feet, plus a furry tail and a face designed to look approachable rather than robotic. Its four flexible legs bend at the knee, letting it climb stairs, step over thresholds, and cross the mixed, unpredictable terrain that trips up wheel-only robots, while the wheels themselves handle flat ground efficiently. It’s a hybrid design that finally matches the actual geography of a residential delivery, and it’s the kind of practical engineering that makes you wonder why every delivery robot before this one settled for wheels alone.

Designer: Robot.com

The cargo compartment doubles as the robot’s body, and it’s large enough to carry multiple packages at once, whether that’s stacked food orders sitting alongside standard parcels. Once R-dog reaches your door, an unattended auto drop-off feature completes the handoff without anyone needing to be home, then it moves on to its next stop. For dense urban blocks and residential neighborhoods with walk-ups, that’s a genuinely useful piece of infrastructure, not just a cute demo built for a press release.

Here’s where the story gets a little more complicated, and I think it’s worth sitting with rather than glossing over. R-dog isn’t only a delivery robot. It also runs on Robot.com’s R-ads platform, meaning it can carry branded advertising campaigns as it moves through neighborhoods and hold natural voice conversations with anyone who stops to interact with it. The design leans into this on purpose. R-dog’s look is built specifically to attract attention and encourage people to walk up and engage with it, and that furry tail is doing exactly the job it was designed to do.

I don’t think that’s a dealbreaker, but it does raise a fair question. Is this a delivery robot that happens to carry ads, or an advertising platform that happens to carry packages? One outlet covering the reveal asked almost the same thing, noting that R-dog “definitely could be both,” and admitting the answer isn’t settled yet. I appreciate that kind of honesty from the coverage, because pretending this is purely a delivery innovation would undersell what the company is actually building here.

On the technical side, R-dog runs on REMI, Robot.com’s fleet management platform, and its navigation comes from FieldAI’s Field Foundation Models, which let it operate in unpredictable real-world environments without needing the area pre-mapped first. That matters enormously for a robot meant to handle whatever staircase, curb, or oddly angled walkway it encounters next. Robot.com has been building robots since 2017 and currently has more than 500 deployed across the US, Canada, Dubai, and the MENA region, having completed over 2.5 million tasks. R-dog joins an existing lineup that includes the R-kiwi for campus deliveries, the R-cargo for industrial logistics, and the humanoid R-noid.

Commercial deployment is planned for 2027, and pricing hasn’t been announced. What I keep landing on is that R-dog solves the one problem that has quietly limited every delivery robot before it. Whether it ends up remembered as the design that finally cracked the last twenty feet, or as a very charming way to get people to look at ads, will depend entirely on how it’s actually deployed once it leaves the concept stage. For now, it’s the most convincing answer I’ve seen to a problem that’s been sitting in plain sight for years.

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The $172 Octagonal Pan Finally Built to Last a Lifetime

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Most pans don’t ask you to think. They just sit there, round and unremarkable, doing what pans have always done. The STEKA sauté pan, designed by Swedish studio ADDI for Japanese cookware brand Mozambique, is different in the most deliberate way possible, and I mean that as a compliment.

Let’s start with the shape. Eight sides. Not round, not square, but octagonal. It sounds like a design flex, the kind of decision that happens when a studio wants attention more than function. But the reasoning holds up. Most cookware is round because round is the easiest shape to cast and the most forgiving in production. ADDI chose the octagon because it offers distinct flat edges that make sense in practice, whether you’re working over a kitchen burner or sitting a pan directly over an open fire. The geometry earns its place.

Designer: ADDI Design Studio for Mozambique

The material choice is just as deliberate. STEKA is cast from 5mm solid aluminum, hand-poured and gravity cast in Japan. That thickness gives it heat retention comparable to cast iron without the same punishing weight. The cooking surface is left completely uncoated, which I know immediately raises a few eyebrows. No non-stick. No ceramic layer. Nothing. Just bare aluminum that develops and seasons over time with use, much like cast iron does.

I’ll admit that for a lot of people, “no coating” sounds like a downgrade. We’ve spent years marketing cookware as a race toward the most non-stick, most frictionless, most idiot-proof surface possible. But coatings degrade. They scratch. They flake eventually. And when they do, the pan is done. There’s no recovering it. STEKA sidesteps this entirely by starting raw and letting time do the work. It’s a slower relationship with your cookware, but a longer one.

The handle is fixed with a single stainless-steel screw. That’s it. One screw. Which means if the handle ever wears out or breaks, you replace just the handle, not the whole pan. It also means the handle comes off, making STEKA compact enough to pack for camping or outdoor cooking without fuss. Paired with a drop-lid-inspired cover, the pan is genuinely built to move between environments.

The collaboration itself is worth paying attention to. ADDI is a Swedish design studio, and Mozambique is a Japanese cookware brand. The development process involved repeated rounds of testing and adjustment between Sweden and Japan, which is the kind of detail that sounds like a press release until you actually look at the result. The pan doesn’t feel like a compromise between two aesthetic traditions. It feels resolved. Scandinavian restraint and Japanese craft precision happen to want the same things, and STEKA is the proof.

At around $172 USD, it’s not an impulse buy. But it’s also not priced like a collector’s piece you’ll be afraid to use. It sits somewhere in the range of a considered investment, the kind of object you buy once and keep for a very long time. That’s clearly the intention. ADDI designed STEKA as a lifelong tool, not a product with a planned obsolescence timeline hiding inside the coating.

The thing about STEKA that sticks with me isn’t the octagon or even the aluminum. It’s the philosophy behind the decision-making. Every choice in this pan, the shape, the material, the screw-fixed handle, the uncoated surface, exists because it extends the object’s life, not because it makes the pan easier to sell. That’s a genuinely rare thing in cookware right now, where most launches are built around a proprietary finish or a celebrity name.

The STEKA pan is the opposite of that. It’s a refusal to add features that will eventually become liabilities. And for a category that has been iterating on the same basic object for centuries, that kind of restraint reads less like a design choice and more like a position.

The post The $172 Octagonal Pan Finally Built to Last a Lifetime first appeared on Yanko Design.

A 1.8-Inch Fire Pit Just Changed Everything About Camping

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Most camping gear exists in one of two categories: either it’s practical and ugly, or it looks great and makes you sacrifice half your trunk space to bring it along. Portable fire pits have historically landed in the second camp. They fold, sure, but “fold” usually means collapsing from one large, awkward shape into a slightly less large, slightly more annoying one. The RTE FireFold from Rough Trails Equipment has a fundamentally different idea about what “portable” should actually mean.

The FireFold earned its name honestly. Collapsed, it packs down to just 1.8 inches thick, the kind of flat that slides directly into the same sleeve where you’d carry a laptop. It debuted at Overland Expo Mountain West and reportedly stopped people mid-stride, which makes complete sense. A fire pit you’d walk past without recognizing isn’t exactly something the outdoor gear industry has offered before.

Designer: Rough Trails Equipment

Performance numbers don’t suffer for the sake of the profile. The FireFold runs on liquid propane and delivers 320,000 BTU per hour, which is a genuinely serious output for something that stores like a piece of tech hardware. Setup takes seconds. The adjustable regulator gives you real control over the flame, not just the on-or-off binary you get from plenty of other portable options. It ships with a ripstop storage bag, the kind of small-but-telling detail that signals the designers were thinking about actual use patterns rather than just the product photo.

What makes the FireFold worth talking about beyond its specs is what it communicates about design priorities. Rough Trails Equipment built this specifically for overlanders and van-lifers, a community that has spent years quietly making peace with compromise. You want a campfire, but you also want room for recovery gear, food storage, sleeping equipment, and everything else a real trip demands. The FireFold removes that negotiation almost entirely. At 1.8 inches folded, it stops being a storage calculation and becomes a non-issue.

The fire ban compliance deserves more attention than it tends to get. The FireFold is certified for both Stage 1 and Stage 2 fire ban conditions, meaning it can be used in situations where traditional open fires and many other portable fire pits are outright prohibited. Anyone who has driven four hours to a campsite, arrived to a posted burn ban, and spent the evening cold in the dark understands exactly why that matters. A fire pit that works when others legally cannot isn’t a luxury feature. It’s the whole point.

From a design perspective, the laptop comparison does a lot of work for this product, and it’s doing it intentionally. We already have a clear, embodied understanding of what “laptop-sized” means. We know that dimension. Framing a fire pit that way bridges the conceptual gap between “outdoor gear” and “something I would actually make room for.” It transforms the FireFold from a camping item into something more like everyday carry, which is a meaningful shift in how you think about bringing it along.

At $295, it sits at the premium end of the portable fire pit market, and that’s worth being honest about. But the counterargument writes itself: if you’re regularly leaving your fire pit at home because it’s too much to pack, or making uncomfortable trade-offs to squeeze it in, the math on $295 looks different. There’s also an optional FireFold Case at $185 for extra protection, though the included ripstop bag covers the basics without requiring an additional purchase.

Camping gear has long operated on an unspoken agreement that bulk is just the cost of doing business outdoors. The FireFold pushes back on that in a way that feels overdue. It doesn’t try to reinvent the campfire or make you download an app to use it. It just collapses flat, fits where nothing else fits, and burns when you need it to. For the overlanding crowd, that’s almost everything. For the rest of us, it’s a reminder that outdoor design has been settling for “good enough” for a long time.

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This $60 Radio Clips to Your Bag and Could Save Your Life

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We’ve gotten so used to having our smartphones as our companions for everyday life that we don’t think of having other devices attached to our person. But what if you’re in an area where your phone is basically useless due to lack of cellular signal? Or what if you’re in an emergency situation where your phone is out of juice and you need to stay informed? The Clip&Go Radio will be very handy in such situations.

This 5-in-1 tool can be clipped to your bag or to your pants or shirt, and it’s ready to do its job whenever you suddenly need it. It mainly serves as a radio for your music and your news, but it’s also a power bank to charge your phone, a flashlight to light up the way, and an SOS alarm for those emergencies when you need to catch others’ attention.

Click Here to Buy Now: $60.00 Hurry, only a few left!

Emergency radios have been around for some time, especially for those who live in areas where emergency situations like wildfires, hurricanes, and tornadoes can pop up occasionally. But over the years, many have stopped using them because they’re too heavy or inconvenient to bring around. The Clip&Go Radio wants to solve that problem by having a design that lets it live on your backpack or in your pocket, close enough to grab at a moment’s notice.

Despite its impressive list of features, the Clip&Go doesn’t look or feel like a bulky survival gadget. It measures just 6.2 x 1.9 x 2.1 inches and weighs a mere 220 grams, light enough that you’ll barely notice it on your pack. The body is built from ABS resin, polycarbonate, and silicone rubber, giving it a durable yet lightweight construction that can handle the bumps and knocks of outdoor life. What really sets its form apart, though, is the built-in carabiner that clips directly onto a backpack strap, a belt loop, or any piece of gear, keeping the radio accessible without taking up precious space inside your bag.

Most clip-on radios only offer AM/FM reception, but this one also has shortwave, which can broadcast emergency channels, international stations, and long-range signals. This means you can still get what may very well be life-saving information even when your phone has no power or there’s no regular cellular signal.

It can also serve as a power bank for your phone, in case that’s really what you need at that moment. It has a triple charging function for true off-grid readiness: USB-C, solar panel, and hand-crank, with the hand-crank serving as a true emergency backup when no power source is available. As a bonus, its 18650 lithium-ion cell is user-replaceable, so you can simply swap it out when it reaches the end of its life without having to replace the entire device. That’s a rare and thoughtful touch in a category where most products are simply thrown away.

The built-in flashlight can run for approximately seven hours on a full charge, more than enough to get you through a power outage or an unexpected night outdoors. And when you truly need to signal for help, pressing and holding the SOS button triggers both an audible alarm and a flashing light, making it far easier for rescuers or fellow campers to locate you even in low-visibility conditions.

For American users in particular, the Clip&Go Radio makes a lot of sense. FEMA has long recommended hand-crank or battery-powered radios as a household essential, but most people never bother because standard emergency radios feel useless on a perfectly ordinary day. The Clip&Go flips that entirely. It’s a device you actually want to bring on a camping trip, a hike, or a day at the festival grounds, and it just happens to be ready for an emergency if one comes along. Whether you’re in hurricane territory, wildfire country, or tornado alley, having a device that functions completely independently of cell towers and internet is simply smart thinking. At $60, it’s a small price to pay for that kind of peace of mind.

The post This $60 Radio Clips to Your Bag and Could Save Your Life first appeared on Yanko Design.

This Handmade Japanese Drawing Pad Comes With Black Paper That Makes Every Stroke Feel Deliberate

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I cannot draw to save my life, but I have a special affection for drawing pads, especially if they’re really well-made. I always have one in my collection, whether to give as a gift to people who actually know and love to draw, or to use for journaling and scrapbooking purposes. The kind of paper used plus the binding (and sometimes the cover) makes all the difference. Japanese craftsmanship when it comes to stationery is usually the go-to of collectors like me.

The Japanese Drawing Pad is simply named and is also minimalist in its design. But it’s a piece of living craftsmanship with almost a century of bookbinding tradition behind it. Originally available in white and grey paper at $30, now it also comes with a black paper option that adds even more elegance for those looking for a unique kind of drawing and writing experience. Having a simple but efficient and beautifully designed tool like this can help artists, creators, writers, and hobbyists bring their ideas to life. It’s also worth noting that this is the kind of design that looks just as good sitting on a desk as it does in use: clean, understated, and effortlessly elegant.

Click Here to Buy Now: Starting at $30.00 Hurry, only a few left!

If you know anything about stationery, then you know that Japanese paper has always been held in high regard. It is smooth and soft but comes with an inherent toughness that makes it perfect for calligraphy, drafting, drawing, sketching, and more. This Drawing Pad, of course, uses this premium paper, and it’s one of its main selling points for connoisseurs. The pad doesn’t come with a cover, so you can go straight to the heart of the matter by drawing, sketching, or writing directly onto it. And once you’re done with whatever masterpiece you’re creating, or whether it’s just the first draft of something, you can easily tear it off, since each sheet is microperforated at the top.

The Japanese Drawing Pad is made by hand by ITO Bindery, as the binding glue is applied using a specialized brush, so you know that each piece is handcrafted with precision. The bookbindery has been around since 1938 and has not lost its bookbinding tradition over the past few decades. Each pad also uses a recycled cardboard backing, which is a thoughtful and sustainable touch. You have three options for size. If you need something compact to carry around, get the A6. If you need a bigger space, the A5 is perfect for you. And if you need something that gives you more room for details, go for the A4 size.

Previously, you only had white and gray as the paper options. But now you can also choose to get the black paper, a particularly striking choice if you have silver, white, or metallic-ink pens to use when drawing or writing. The unconventional black surface is something that many artists and writers prefer when they want to experiment, and it’s easy to see why. There’s something almost theatrical about working on black paper: every stroke feels more deliberate, more expressive, and more visually arresting. Whether you’re sketching a portrait, laying out a design concept, or writing in silver ink, the contrast is stunning in a way that a standard white pad simply cannot replicate.

Whether you’re a seasoned artist, an avid journaler, or simply someone who appreciates beautiful and well-crafted objects, the Japanese Drawing Pad deserves a permanent spot on your desk, or at the very top of your gift list. It’s the rare kind of thing that manages to be both a functional everyday tool and a quiet work of art. In a world increasingly cluttered with screens and digital noise, there’s something deeply satisfying about slowing down and putting pen to paper, especially when the paper is this exceptional. The new black option only sweetens the deal, giving this already beloved pad a bold new identity. For collectors and creatives alike, this is one addition to your collection that you won’t regret, and one gift that will definitely be remembered.

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Harley-Davidson’s $3,299 Turntable Is Shaped Like Their Logo

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The moment you see the Pro-Ject x Harley-Davidson Turntable, you know exactly what it is, and you know exactly who it is for. That kind of immediate clarity is rare in product design, and it is worth paying attention to.

Pro-Ject Audio has built a reputation for doing collaborations the right way. The Austrian turntable maker has previously teamed up with The Beatles, Pink Floyd, Metallica, AC/DC, and Elvis Presley, and the pattern across all of them is consistent: these are not logo-on-a-box exercises. Pro-Ject uses each collaboration as an opportunity to rethink the physical design of the hardware itself, from the ground up. The Harley-Davidson edition follows that same standard, and arguably pushes it further than any of its predecessors.

Designer: Pro-Ject

The plinth, which is the chassis of the turntable, is literally shaped like the Harley-Davidson Bar & Shield logo. Not decorated with it. Shaped like it. That distinction matters more than it might initially seem. It means every design decision radiates from an identity that already carries enormous cultural weight, and Pro-Ject had to make the engineering work around that shape without cutting corners. The result is a chassis milled from solid MDF with no hollow spaces, which ensures maximum resonance damping and a dead-quiet noise floor. A precision-milled aluminum top surface sits above it. The whole thing looks like it belongs in a museum of industrial design, or possibly a very well-curated garage.

The materials continue the story. Polished aluminum, stainless steel, and a genuine leather platter mat that echoes the texture and feel of a classic Harley saddle. The 300mm glass platter sits above a diamond-cut aluminum sub-platter, and the total moving drive mass clocks in at 2.75 kilograms. The 915-gram Harley-Davidson record puck alone communicates seriousness. This is not a turntable that was assembled casually.

Then there is the tonearm. A hand-polished 8.6-inch S-shaped aluminum arm with an SME-style removable headshell, high-purity copper internal wiring, and a TPE-damped counterweight. The removable headshell is more useful than it might initially appear, because cartridge swapping becomes considerably easier, and Pro-Ject designed the arm to accommodate a wide range of cartridges for anyone who eventually wants to upgrade beyond the included Pick it PRO moving-magnet cartridge. Out of the box, it is ready to play. Down the road, it is ready to grow.

It is handmade in Europe, available for special order, and priced at $3,299. That is not an entry-level number, and it was never trying to be. Placed next to a $40,000 motorcycle inside a Harley-Davidson showroom, which is apparently one of the places where these will be sold alongside traditional hi-fi dealers, the price reads very differently. Context shifts perception. That is also one of the more quietly brilliant moves of this entire release: distributing it through Harley showrooms introduces serious audio equipment to an audience that may have never walked into a dedicated hi-fi store. That kind of crossover is genuinely good for the culture of listening.

My honest take is that this collaboration works because neither brand had to compromise to get here. Harley-Davidson’s visual identity is so iconic that a lazy licensed product would have been obvious immediately. Pro-Ject’s reputation is built on engineering, not lifestyle branding, so a piece that looked great but performed poorly would have been an embarrassment. The fact that both came away intact says everything about how seriously this was approached.

Production is limited, with no confirmed quantity and no guarantee of a second run. If the convergence of motorcycles, vinyl, leather, aluminum, and genuine hi-fi performance speaks to you at all, waiting feels like an unnecessary gamble. Some objects exist at exactly the intersection of who you are, and this turntable is very specifically that for a certain kind of person: someone who values craft, has opinions about sound, and is not apologetic about having taste with an edge. The open road has always had a soundtrack. Now it finally has a turntable to match.

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