Have you ever wished for a smarter way to manage your workload in Microsoft Teams? With AI-powered features that draft emails, analyze data, generate visuals, and enhance collaboration, Copilot Chat is here to transform how you work, all within your virtual workspace. In the video below, Mike Tholfsen breaks down how this innovative assistant transforms […]
The post Learn Copilot Chat for MS Teams : From File Analysis to Loop Pages, Custom Styles & Agents appeared first on Geeky Gadgets.
Nib is the first thing I want right when choosing a fountain pen, then I look for its design and aesthetics afterwards. Endless Stationery, a Chennai, India-based global stationery brand, that successfully created a retractable fountain pen and raised close to $250,000 in funding for it in 2024, wants to change my idea in favor of aesthetics without compromising the writing experience.
The company has partnered with 3D printing experts Arclayer to design and launch Maze fountain pen, which makes “what used to be hidden… the star of the show.” The new series of fountain pens has a see-through body, allowing you to gawk at the flowing ink within the geometric patterns 3D printed inside the pen.
Click Here to Buy Now: $89 $99 (10% off). Hurry! Raised over $280,000 already.
Arclayer is redefining the writing instrument as we know it through these visually appealing 3D-printed fountain pens for Endless Stationery. The Maze pen created in partnership, answers the simple question, “why can’t a pen be beautiful on the outside and the inside,” which the makers asked themselves before getting down to creating a fountain pen built from “light, resin, and imagination.”
Within each Maze pen is a 3D printed architecture in the form of DNA, pattern or spiral, which allows the ink to flow through them, creating a visually exciting display unlike anything ever seen before in a pen. While Maze pens are standard, the Maze Pro features the Japanese eyedropper inking system that makes the pen easy to carry in movement-intensive journeys or even on airplanes; soring at high altitudes without worrying about the ink leaking at pressure changes.
For the design of these pens, the upper body and the grip section are made from acrylic, while the barrel is made by 3D printing resin. All the Maze pens are formed using resin printing, which makes it possible to have the ink chambers designed the way they are. 3D printing allows a clear finish and internal geometry without adding weight to the pen design. It comes in a special casing which doubles as a fidget toy, if that’s something you tend to spend extra on.
The pen interiors are lively and show the company’s own Alchemy Ink flow through the interesting architecture, yet the intriguing design is easy to clean. It can be rinsed with water to keep the ink flow smooth. The Maze pens come in five unique patterns, DNA, Morse, Twist, Coil, and Swirl and as many colors, with the choice to pick from extra-fine, fine, medium, broad, and a special architect nib.
Currently, the Maze and Maze Pro fountain pens are available for preorder through Kickstarter, where they are enjoying a successful crowdfunding campaign. You can preorder a Maze fountain pen starting $89, while the Maze Pro costs $10 extra. The campaign is also providing a celebratory Christmas combo, which you can get for $135 now. It includes a Maze Pro, a pen pouch, Alchemy Ink, and a set of Storyboard Pocket Notebook.
Click Here to Buy Now: $89 $99 (10% off). Hurry! Raised over $280,000 already.
The post This $89 Fountain Pen Shows You the Ink Flowing Through it’s 3D Printed Maze first appeared on Yanko Design.
LG just revealed several new speakers in the xboom line ahead of CES 2026. These speakers are part of an ongoing collaboration with will.i.am from Black Eyed Peas, who is on board as the "experimental architect" involved with "development, design and brand marketing."
These speakers are fairly different from one another, but they all have AI in common. Each speaker includes an algorithm that automatically adjusts the EQ after analyzing the audio content and the listening space. Many also feature an AI algorithm for ambient lighting, which will adjust the lights to match the song being played.
The xboom Stage 501 is intended for parties and karaoke sessions. It features additional AI that can remove vocals from "virtually any song" and even adjust the pitch. The battery lasts for around 25 hours and can operate while plugged in. The speaker delivers up to 220W of power, with dual woofers and full-range drivers. It boasts a five-sided cabinet design that allows for vertical and horizontal placement.
The xboom Blast is a boombox with a 99Wh battery that allows for up to 35 hours of continuous playback. That's a mighty fine metric. This is a modern boombox, so it's designed for durability. There are edge bumpers and a side rope handle for carrying.
The Mini is a tiny doodad that can be placed just about anywhere. It offers ten hours of battery life per charge and a strap for easy placement. The speaker also includes a built-in tripod mount.
The Rock is a, well, rock-shaped speaker that's larger than the Mini but can still be held in the palm of the hand. The battery lasts for ten hours and the design is focused on durability. It has been tested to "seven military standards" to ensure reliability in "challenging outdoor environments." This is an upgrade of the pre-existing XG2 model.
We don't have pricing or exact availability on this stuff yet, though the speakers will be on display at LG's booth at CES. The company has said that all four of these gadgets will come out in 2026.
This article originally appeared on Engadget at https://www.engadget.com/audio/speakers/lg-announces-new-line-of-xboom-speakers-ahead-of-ces-010052598.html?src=rss
Nestled into the rolling hills of rural Stirlingshire, a modest zinc-clad home has captured the attention of Scotland’s architecture community. Grianan, designed by Cameron Webster Architects for jewellery designers Neil Smith and Wesley Zwiep, recently claimed both Best Building and the Overall Chapter Prize from the Scottish Society of Architects, cementing its place among the country’s most thoughtful residential projects.
The name itself tells much of the story. Grianan translates from Gaelic as “sunny place,” a fitting description for this single-storey retreat that seems to bask in its landscape setting. The two-bedroom home sits within gardens that the owners meticulously cultivated from what was once an overgrown field. Since acquiring the plot in 2017, Smith and Zwiep have transformed the site into a thriving orchard dotted with over 10 varieties of Birch and Japanese Maple. Pine martens, owls, and woodpeckers now visit regularly, drawn to the flourishing ecosystem.
Designer: Cameron Webster Architects
The clients, who run Orro Contemporary Jewellery in Glasgow’s West End, approached Cameron Webster Architects with a clear vision: create a compact home where they could immerse themselves in their garden while enjoying views of the surrounding hills. The architects responded with a design that privileges simplicity and material honesty. The clean form of the zinc-clad structure sits modestly within its setting, allowing the building’s materiality to speak for itself rather than competing with the landscape.
“There wasn’t a single inspiration point,” explains Stuart Cameron, co-founder of Cameron Webster Architects. “It’s more about developing a plan to suit the site specifics and then considering appropriate materials from an aesthetic and budget point of view.” This pragmatic approach has yielded a home that feels both site-specific and quietly confident in its restraint.
What makes Grianan particularly compelling is its demonstration that thoughtful architecture need not shout to make an impact. The home’s modest footprint and careful siting create a private retreat that enhances rather than dominates its garden setting. For Smith and Zwiep, the result is exactly what they sought: a place to cosy up while remaining deeply connected to the landscape they’ve so carefully nurtured. In an era of increasingly complex residential projects, Grianan offers a quiet reminder that simplicity, executed with precision and care, remains architecture’s most enduring virtue.
The post How a Modest Zinc-Clad Retreat Won Scotland’s Top Architecture Prize first appeared on Yanko Design.
Digital photography has spent three decades eliminating friction, yet the Flashback ONE35 V2 deliberately reintroduces it. This compact camera restricts shooters to 27 exposures per roll and can withhold images for 24 hours before revealing them, treating scarcity and anticipation as design features rather than technical shortcomings. The approach feels counterintuitive until you recognize what it actually targets: not the act of taking pictures, but the behavioral patterns that infinite storage and instant preview have normalized.
Flashback, the Australian startup behind the ONE35, positions the device as “film feeling, digital freedom,” a phrase that captures the central tension the product navigates. The camera doesn’t simulate film chemistry or grain patterns. Instead, it borrows the behavioral scaffolding of disposable cameras, the fixed exposure count, the inability to review shots immediately, the delayed gratification of waiting for development, and grafts these constraints onto a reusable digital core. What emerges is less a nostalgic throwback than a deliberate intervention in how we interact with image-making tools.
The design argument here is worth parsing carefully. Constraint, when applied with intention, can redirect attention and reshape behavior in ways that pure capability expansion cannot. The ONE35 V2 doesn’t ask users to appreciate limitation for its own sake. It proposes that limitation might produce something that unlimited access has gradually eroded: the weight of a single frame, the suspense of unseen results, the social ritual of collective reveal.
Physically, the ONE35 V2 speaks a dialect of late-1990s consumer electronics, updated with contemporary material sensibilities. The body arrives in eight colorways ranging from high-contrast pairings like Yellow/Black and Red/White to more subdued options like Coffee/Cream. Two variants feature transparent shells that expose internal componentry, a direct nod to the see-through electronics trend that peaked around 1999 with devices like the iMac G3 and translucent Game Boy Color. The proportions feel familiar, chunky without being bulky, designed to disappear into a jacket pocket or small bag.
Color blocking dominates the visual strategy. Each variant commits to two tones maximum, avoiding the gradient meshes and complex surface treatments common in contemporary consumer tech. This restraint serves the object’s conceptual positioning: it looks like something you would find at a beach shop checkout in 2001, yet the material finish and assembly precision read as current. The plastic shells have a matte texture on most models, reducing fingerprint visibility and giving the camera a tactile presence that glossy alternatives would sacrifice.
The transparent variants deserve particular attention. Exposing circuitry and internal structure creates an honesty of construction that opaque housings inherently conceal. You see the battery, the sensor housing, the flash capacitor. This transparency also functions as a trust signal, suggesting the device has nothing to hide about its relatively simple internals. There’s no pretense of computational complexity here, just the essential components required to capture and store 27 images at a time.
Materiality extends to the accessory ecosystem. A vegan leather case at $19 positions the camera as an object worth protecting and displaying, not a disposable item despite its disposable-camera heritage. The existence of branded caps and lanyards suggests Flashback understands the ONE35 as a lifestyle product, something users might want to signal ownership of rather than simply use.
Twenty-seven exposures. That number, pulled directly from the standard frame count of disposable film cameras, functions as the ONE35 V2’s primary behavioral lever. Disposables dominated casual photography from the late 1980s through the early 2000s before smartphones consolidated image capture into always-available, unlimited-capacity devices. By imposing the same ceiling, the ONE35 V2 forces a kind of photographic triage that contemporary shooters rarely practice: you cannot spray-and-pray when each frame represents roughly 3.7% of your available shots.
Scarcity changes the shooting ritual in observable ways. Users report thinking before pressing the shutter, evaluating whether a moment warrants one of their limited frames. The camera transforms from a capture-everything tool into something closer to a curation device, where selection happens at the point of exposure rather than afterward in a bloated camera roll. Each shot carries psychological weight proportional to the constraint.
The 24-hour development delay in Classic Mode introduces a second behavioral intervention. Instead of chimping (the photographer’s habit of immediately reviewing each shot on the camera’s screen), users must wait a full day before seeing results. This delay severs the feedback loop that digital photography introduced, the instant gratification that allows endless re-shooting until the perfect frame emerges. Without that loop, users either accept what they captured or miss the moment entirely.
Flashback’s decision to include Digicam Mode alongside Classic Mode reveals a pragmatic understanding of user psychology. Some shooters want the constraint of limited exposures without the enforced patience of delayed development. Others want the full experience. By making the delay optional, the ONE35 V2 acknowledges that not every context suits maximum friction, a party might call for immediate sharing that a travel diary would not.
The transfer workflow also carries design intention. Photos unload via Lightning or USB-C cable to the Flashback app, which handles what the company frames as “development.” The cable requirement is notable in an era of wireless everything. It creates a deliberate moment of connection, a physical ritual that separates capture time from viewing time. You must decide to plug in, to initiate the transfer, to move from shooter to viewer.
The behavioral implications extend beyond individual users into social dynamics. At parties or group events, the ONE35 becomes a shared object that circulates hand to hand, with each person granted temporary access to a limited pool of exposures. This communal aspect mirrors how disposable cameras functioned at weddings and gatherings in the pre-smartphone era: multiple people contributing to a single roll that no one could immediately review.
The delayed reveal transforms image sharing from instant broadcast into group ritual. When Classic Mode holds photos for 24 hours, the eventual viewing becomes an event rather than a continuous trickle. Group chats waiting for a camera’s worth of party photos to “develop” experience collective anticipation, a social texture that immediate availability cannot replicate. Flashback’s marketing leans into this with phrases like “your friends will be begging you to share.”
There’s also an environmental dimension to consider. Disposable cameras generate physical waste with every roll: plastic housing, battery, packaging, chemical development. The ONE35 V2 retains the behavioral structure while eliminating the material throughput. One device, rechargeable via USB-C, replaces hundreds of single-use cameras over its lifespan. The sustainability argument nests inside the experience design rather than leading it.
The ONE35 V2 enters a market already primed for analog revival and digital skepticism. Film photography has seen sustained growth since the mid-2010s, driven partly by aesthetic preference but also by users seeking relief from the infinite scroll of digital capture. Fujifilm’s disposable cameras routinely sell out. Kodak has reintroduced discontinued film stocks. The secondhand market for film cameras has pushed prices for once-cheap bodies into collector territory.
Within this landscape, the ONE35 occupies an interesting niche. It doesn’t require users to learn film handling, find processing labs, or pay per-roll development costs. The app handles what chemistry once did, for free, indefinitely. But it preserves the behavioral constraints that film imposed, the limitations that many film revivalists cite as the actual source of appeal. In this sense, the camera represents a kind of constraint extraction: pulling the valuable behavioral friction out of an analog medium and transplanting it into a digital one.
The “screen detox” movement provides additional context. Products and services promising to reduce smartphone dependency have proliferated over the past five years, from grayscale phone modes to minimalist devices like the Light Phone. The ONE35 V2 aligns with this impulse without requiring users to abandon connectivity entirely. You can still have your smartphone in your pocket. You simply capture certain moments with a different tool, one that encourages presence during the event and patience afterward.
Flashback’s origin story reinforces this positioning. Founders Kelric and Mack reportedly started the project after observing that partygoers spent more time on their phones than engaging with each other. The garage-prototype-to-Kickstarter arc (reaching $80,000 in 13 minutes, $800,000 total) suggests the observation resonated with a substantial audience. The subsequent Good Design Award and Shark Tank appearance mark a trajectory from indie curiosity to legitimate product category.
The camera’s success, 50,000 units across 68 countries, 10 million captured images, suggests that designed constraint has commercial viability beyond niche appeal. Users are paying $119 for a device that does less than their phones, specifically because it does less. This inverts the typical value proposition of consumer electronics, where more features justify higher prices.
What Flashback demonstrates is that subtraction can constitute a design feature when the thing being subtracted has become a source of friction itself. Unlimited storage, instant preview, always-on connectivity: these capabilities solved problems when they emerged, but they’ve also generated new ones. The ONE35 V2 proposes that rolling back certain capabilities, with intention and care, might address the second-order problems the first capabilities created. Pick up the camera. Feel its compact, slightly chunky form. Press the shutter knowing you have 26 frames left. That deliberate friction is the product.
The post The Flashback ONE35 V2 Turns Limitation Into Its Most Compelling Feature first appeared on Yanko Design.
OneXPlayer is quickly establishing itself as a company that isn't afraid to get weird as hell. (Take, for example, its transforming dual-screen gaming portable.) Its latest venture is another retro gaming handheld that, at first glance, looks like a standard dual-screen model. But the Android-powered OneXSugar Wallet uses a single foldable screen instead.
The device was teased via a 54-second video on the Chinese video-sharing platform Bilibili. Retro Handhelds reports that the Wallet uses an 8.01-inch OLED with a 2,480 x 1,860 resolution. (That's a 4:3 aspect ratio when unfolded.) The video also shows an asymmetrical analog stick layout with a D-pad and four action buttons.
Given foldable phones’ long-term durability concerns, we aren't necessarily betting on the OneXSugar Wallet being a wise purchase. We also don't know how much it will cost. (The aforementioned weird dual-screen device retails for a whopping $799.) But at the very least, don't be shocked if the novel form factor ends up sparking a few copycats in the competitive retro gaming industry.
This article originally appeared on Engadget at https://www.engadget.com/gaming/the-onexsugar-wallet-is-an-upcoming-retro-handheld-with-a-43-foldable-screen-215528433.html?src=rss
You know those ‘Shot On iPhone’ images and videos you see? What they don’t tell you is that they didn’t just use an iPhone to shoot the content, they used an entire ecosystem of rigs, lights, lenses, dongles, microphones, stabilizers, and a bunch of other tech alongside the iPhone. ‘Shot On iPhone’ implies that all someone did was use their phone and nothing else, but the reality is more ‘Shot On iPhone using thousands of dollars worth of other gear’. While most content creators can’t afford that entire setup, one humble power bank hopes to make things easier.
The ‘Creator Beauty’ power bank may sound like a Chinese product name translated rather poorly, but this little device promises to uplift your iPhone’s video and photo capabilities significantly. Most MagSafe power banks snap on and begin charging – this one snaps on and turns your iPhone into a vlogging machine. Aside from giving your iPhone juice while it films, the Creator Beauty power bank packs a swivel-able light-source, and a kickstand that lets you prop your phone either vertically or horizontally, depending on what content you’re creating.
Designer: Max
The entire power bank has a Leica meets retro Polaroid aesthetic. You’ve got a two-tone beige/grey body with a red dot on the corner that you’d think was a Leica logo (but it just has Max written on it, i.e., the designer’s name). Meanwhile, the light itself sits on a swiveling joint, connected by an arm that has Polaroid’s original candy-colored rainbow printed on it. The visual beauty of the light is that, when closed, it sits at the center of the power bank, looking quite literally like a camera. Swivel it out, however, and it becomes an adjustable light source that’s softer-yet-stronger, perfect for filming content without relying on your phone’s flash.
What you see as a fairly novelty-ish light source is, in fact, a true content creator’s dream – because it’s dual-sided. On the outer side, it’s a disc-shaped light, capable of providing a broader wash of light while filming… but look on the other side and you’ve got a ring light, designed to make content creation a breeze without needing to invest in a separate ring light accessory. Buttons on the rim of the light let you toggle between front and rear lights, as well as brightness. The lights draw power from the power bank itself, making the entire arrangement super convenient – and the swiveling design gives you the ability to uniquely position the light source anywhere around the camera to get the right lighting angle or to avoid glare.
The kickstand is icing on the cake. Instead of being one of those flip-out kickstands, this one stays tucked inside the power bank itself, so it isn’t really visible until you need it. Pull it out like you would a drawer in a cabinet and position it at a 90° angle and the kickstand can be used either for docking your phone vertically or horizontally. Together, the three features give the Creator Beauty power bank quite the edge over other power banks. You practically don’t need an extra light or a tripod while recording – just snap the power bank on, swivel the light out, knock out the kickstand, and hit record!
The post MagSafe Power Bank with Built-in Ring Light and Kickstand is a Vlogger’s dream-come-true first appeared on Yanko Design.
The demand building out AI infrastructure has placed on PC component makers has already led to the death of one consumer-facing RAM brand, but a new report from the International Data Corporation (IDC) suggests it could have an even worse impact on the PC industry at large. In its worst-case-scenario model, the IDC predicts PC shipments could shrink by up to 8.9 percent in 2026 because of the high cost of memory.
"Instead of expanding conventional DRAM and NAND used in smartphones, PCs and other consumer electronics, major memory makers have shifted production toward memory used in AI data centers, such as high-bandwidth (HBM) and high-capacity DDR5," IDC writes. That's continued to drive up the price of the RAM that is available for PC makers, which has naturally led to them to raise the price of their own products to stay above water. For example, modular PC maker Framework has already had to raise prices on some of its laptops and parts, and says "further cost and price increases are highly likely over the next months." The IDC says prices could rise by 6 to 8 percent in 2026 if its most pessimistic scenario comes true.
The timing of this RAM crunch is particularly ironic because selling "AI PCs" — computers with neural processing units that can run AI models locally — were supposed to be one of the things pulling the PC industry out of its post-pandemic slump. Instead, those computers' larger RAM needs leave them more vulnerable to the effects of the AI industry itself. Computers aren't the only electronics impacted, either. The IDC says the average selling price of a smartphone could grow by 6 to 8 percent in its most pessimistic scenario, and smartphone shipments could shrink by as much as 5.2 percent.
Companies like Apple and Samsung, with cash to spare and long-term supply agreements, could weather these higher RAM prices and keep things consistent for a year or two, according to the IDC. For everyone else, though, the near-term is looking much more expensive, and by necessity, much less adventurous.
This article originally appeared on Engadget at https://www.engadget.com/computing/idc-warns-of-major-pc-market-downturn-due-to-memory-crunch-214510197.html?src=rss
Spigen just launched a plastic shell that turns your Mac mini into a time machine. The Classic C1 wraps Apple’s minimalist aluminum cube in translucent plastic inspired by the iMac G3, complete with Bondi Blue and Tangerine colorways that defined Apple’s most playful era. For $32.99, your desk gets an instant injection of late ’90s nostalgia without sacrificing any of the Mac mini’s modern functionality.
The case feels like Spigen asking “what if Apple never stopped being fun?” The iMac G3 saved the company in 1998 by proving computers could be joyful instead of boring beige boxes. Now that same translucent aesthetic wraps around Apple’s most compact desktop, creating a bridge between two completely different design philosophies. The Mac mini stays minimalist underneath while the C1 shell broadcasts personality loud enough to make your entire workspace smile.
Designer: Spigen
You’d almost expect a $45 plastic accessory to feel like a cheap gimmick, but peeling back the layers reveals some genuinely clever engineering. The exploded view shows this is a multi-part assembly, not some flimsy snap-on lid. Its base is a precisely molded cradle with ventilation slots that align perfectly with the Mac mini’s own air intake. The whole thing is built from a sturdy blend of PMMA, acrylic, and PVC that gives it the authentic heft and feel of turn-of-the-millennium hardware. This isn’t just a costume; it’s a well-made suit of armor.
It’s the smaller, nerdier details that really sell the execution. The vertical grilles on the sides are a direct homage to the Power Mac G4 Cube, yet they also provide functional ventilation for a machine that can get surprisingly warm. That clear base also elevates the entire unit just enough to improve airflow from below, and the inclusion of a simple dust filter is a practical touch most companies would skip. This is what separates a thoughtful tribute from a lazy cash-grab, proving someone at Spigen actually did their homework on Apple’s golden age.
Let’s face it, the Mac mini is an incredibly boring-looking box. It’s a marvel of miniaturization, sure, but it has all the personality of a corporate paperweight. The C1 completely upends that sterile aesthetic, swapping the cold, professional feel of aluminum for the warm, inviting glow of colored plastic. It reminds you that technology can be approachable and even a little bit weird. It turns an appliance back into a companion, something with a presence that does more than just sit there and compute.
Ultimately, this little plastic shell is a rebellion against the sea of monotonous silver and gray (we even wrote about an iMac G3-inspired Apple Watch just yesterday!) Given CES is in another week or so, we’re prepared for an onslaught of sleek silver or black boxes that do a lot without having much character. But for thirty-three bucks, you get to reclaim a bit of that lost optimism as an existing (or prospective) Apple Mac mini owner. It’s a small, delightful declaration that our desktops don’t have to be so damn serious (aka boring) all the time.
The post This transparent Spigen shell turns your Mac mini into a tiny iMac G3 and I kind of love it first appeared on Yanko Design.