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Ex-BlackBerry Designer Is Calling Out Everything That’s Wrong With Modern Phones

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Design Mindset is Yanko Design’s weekly podcast, powered by KeyShot, the 3D rendering and visualization software that helps designers test how products feel, not just how they look. Hosted by Radhika Seth, the show goes deep into the philosophy and process behind world-class products, sitting down with the designers and founders who actually built them. Episode 19, premiering this week, is one of the most thought-provoking conversations the series has produced yet.

Joseph Hofer is the founder of Hofer Studio, where he consults with hardware entrepreneurs on building profitable, world-class product portfolios. Before that, he spent over a decade at BlackBerry as senior industrial designer, establishing the look and feel of the iconic Bold family and shaping devices like the Q10, Z10, and the BlackBerry Passport. His work spans over sixty design and utility patents, touching products that have sold over twenty-one million units and generated upward of $3.1 billion in revenue. More recently, he’s been the design force behind the Clicks Communicator, a physical-keyboard phone that launched at CES and challenges the smartphone status quo from the ground up.

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Designing Within Human Limits and Intentional Use

Joseph opens the conversation with something that sounds almost poetic but lands with the weight of a core design principle, saying that “most of the objects we use every day quietly train us. They teach us how to hold them, how long to focus, how patient we need to be. When design ignores human limits, it drains us. When design respects them, it almost feels like care.” He critiques what he calls “sticky” experiences, the kind that benefit companies at users’ expense, arguing that the real question designers should be asking is whether a product helps people become a better version of themselves, or whether the company simply wins after ten years of draining them.

His case against the modern smartphone is pointed. Everything phones have become reactionary devices, he says, describing the experience of opening one to send an email and somehow finding yourself fifteen minutes deep in a reel, asking yourself how you got there. Big tech, in his view, has deliberately shaped products to increase screen time and sell more through ads. His philosophy runs in the opposite direction: good design should prompt intention before action, not exploit the absence of it.

Integration as Core Design Principle

One of the more revealing details Joseph shares early on is that at BlackBerry, the design team’s official title wasn’t “Industrial Design.” It was Design Integration. That framing stayed with him. “Integration is probably the word, the action that I look to do well in every project I work on,” he says, adding that a product can be really strong in one area but fall flat in others if you’re only focused on a single dimension. Great design, strong UX, and poor profit economics don’t add up to a sustainable company. Economics, manufacturing, cost, and complexity all have to be part of the thinking from the start.

His advice to technical founders reflects the same logic. Many of them start with a breakthrough innovation and then go looking for a market to push it into, which he sees as working in the wrong direction. The better path is to step back, clearly analyze the problem bubbling up from the market, shape an experience that solves it, and then let the technology marry with that. Letting one run too far ahead of the other is how good innovations end up as products nobody uses.

The Clicks Communicator: Intentional Mobile Interaction

The Clicks Communicator is the most direct physical expression of Hofer’s philosophy. It was the first phone he designed in ten years after BlackBerry, and the central idea is a complete inversion of how smartphones currently work. Rather than an app grid that presents notifications and pulls users in reactively, the Communicator prompts users to decide what they want to do first, then acts on it. Physical keys map to intentional shortcuts: pressing K calls a specific contact, pressing I opens Instagram only when the user has consciously chosen to. “It flips it from being reactionary to intentional,” Joseph says simply.

He’s also clear that the product’s appeal isn’t nostalgia. A lot of the customers aren’t even BlackBerry users, he notes; they’re younger people who simply want a different relationship with their mobile device. The Communicator sits within what he sees as a broader 2025 trend of “intentional tech,” products designed to decouple from the everything-phone model and serve one specific purpose well. Adding a 3.5mm headphone jack and a removable SD card wasn’t feature-stacking for its own sake either; those choices are signals to a specific audience that the team is listening and cares about them.

Recognizing Quiet Ideas and Process Discipline

When Radhika points out that the BlackBerry keyboard now feels like it was always inevitable, Hofer pushes back immediately. “Sometimes these quiet ideas that feel obvious or become obvious actually took a lot of effort and iteration to get there,” he says, describing the motto his team lived by: think, build, test. The keyboard’s evolution wasn’t a single stroke of insight; it was a response to real constraints. As iPhones pushed screens larger, BlackBerry faced intense pressure to shrink keypads, which meant switching from oval keys to square ones, losing the tactile separation users relied on. The innovation was subtle: raising a curved edge on each square key to preserve the feeling of the oval, essentially hiding a reference to the old shape inside the new form. Speed tests, accuracy tests, user sentiment on different options, all of that grinding iteration is what produced something that feels natural.

He applies the same thinking to simplicity broadly. Designing for a ten-year-old, he argues, is one of the most useful principles any designer or founder can adopt. If you can’t explain the product to a ten-year-old, it’s too complicated. He tested this literally the night before the recording, sitting down with his eight-year-old daughter to ask about her CD player. Her answer was that it had way too many buttons. Her ideal? Three: power, volume up, volume down. Six identical-feeling buttons with in-mold graphics that disappear in the dark told a clear story about what the designers had gotten wrong.

Restraint as Confidence and Commercial Strategy

The tension between restraint and visibility is something Hofer takes seriously. He doesn’t frame minimalism as a virtue in itself. “Clarity is actually an even stronger word,” he says, arguing that a vanilla product solving a vanilla problem will simply go unnoticed. The goal isn’t to be quiet; it’s to solve a real, specific problem so well that the product becomes the only answer for a particular group of people. A phrase he came up with captures where he’s trying to take the companies he works with: from viral products to vital ones, products that customers genuinely need in their lives because of the difference they’ve made.

That philosophy maps directly onto commercial outcomes. A product that meets the emotional and functional needs of a user, reduces cognitive load, lasts longer, and has lower return rates naturally builds a brand that draws people in without needing to be aggressively sold. “When products are just better,” he notes, “they need to be marketed and sold maybe less. That’s an effect on your bottom line.” His work at Hofer Studio is less about crafting beautiful objects and more about asking founders what commercial success actually means to them and building backwards from that.

When the rapid-fire round asks him to describe restraint in design in a single word, his answer arrives without hesitation: confidence. “What does obviousness create? It creates confidence. I know how to enter this experience. I know how to start this product. I feel more confident with it in my life.” It’s a fitting close to a conversation that consistently returned to the same idea: that the design decisions nobody notices are usually the ones that took the most care to make.

Design Mindset drops every week on Yanko Design. Catch Episode 19 in full wherever you listen to podcasts. For a free trial of KeyShot, visit keyshot.com/mindset.

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“Stop Treating Designers as Tools”: Ayush Singh on Ownership, Burnout and Speaking Up in Indian Brands

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Yanko Design’s weekly podcast, Design Mindset, continues to bring raw, unfiltered conversations about what it really means to work in design today. Episode 18, Powered by KeyShot, tackles a topic many Indian designers experience but rarely discuss openly: the uncomfortable gap between what brands promise about design investment and what actually happens behind closed doors. Each week, the podcast peels back the layers of design practice, exploring not just the creative work but the professional realities that shape it.

This week’s guest, Ayush Singh Patel, brings a perspective shaped by years at the intersection of ambition and reality. Currently Associate Director of Industrial Design at Noise, where he leads audio and accessories categories, Ayush previously spent time at boAt Lifestyle, leading five sub-brands and contributing to the design of everything from wireless headphones to smartwatches to grooming products. His experience spans the full product lifecycle, from concept to launch, but more importantly, he’s navigated the complex dynamics of being an in-house designer in India’s explosive consumer tech ecosystem. What unfolds in this conversation is a candid examination of derivative design, creative ownership, and what it takes to push for genuine innovation when the system is built for speed and cost efficiency.

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From “Glorified Localization” to Building Design Credibility

The conversation opens with a striking admission from Ayush: “I joined brands that proudly call themselves design driven, expecting to lead innovation. Instead, I found myself in meetings where the brief was literally make it look like this western brand, but make it cheaper. That’s not design leadership, that’s glorified localization. The real question isn’t whether Indian brands invest in design. It’s whether they invest in their own design vision or just outsource the thinking and ask internal teams to clean up the execution.”

Ayush’s own hiring story reveals how this dynamic begins. He wasn’t selected for his industrial design expertise or technical knowledge. “All they liked was the kind of portfolio work that I put out on Instagram and Behance, and they liked those pretty images. So there was no technicality in my interviews. They just wanted that sort of outcome for their products.” It took nearly a year and a half to convince stakeholders of what he could actually contribute beyond aesthetics. His first real opportunity came through rendering. In 2018-2019, e-commerce was entirely image-based, and conceptual renders performed exceptionally well. “Anything that was sold online on platforms like Amazon or Flipkart was truly image-based, right? Everything was about how glorified of a concept you can showcase.” The results were immediate: sales increased because customers were convinced to buy what they perceived in those images, not the reality of the products. This success created the opening for deeper design involvement.

The Strategic Path from CMF to Original R&D

Once sales growth validated design’s commercial impact, Ayush introduced CMF (Color, Material, Finish) as the next frontier. “I came and said there’s a thing called CMF design. So you can start with something as small as color. You don’t have to pay a lot of money, you can talk to the Chinese manufacturers, you can add those colors. And then obviously, it will change the game completely, because now people will have more options to buy from.” The Indian market’s aesthetic inexperience became an advantage. Consumers were looking for cheap technology that looked different, and without established reference points for good or bad aesthetics, bold CMF choices stood out on crowded e-commerce platforms.

The impact was substantial. “Through colors, we crossed over that thing where design can be weighed down, not in terms of aesthetics, but colors. And that’s what made the company grow from almost 90 crore revenue to 200-300 crore revenue.” The next step involved tweaking aesthetics of Chinese-sourced products with small mold modifications. “The reception from the customers was bonkers. It did not lead to as much sales because obviously it drove the costs a little high. But the way people understood that there’s something beyond buying a product from China and launching it, they saw in and out development, right? Someone cared about every bit of visuals that went out. There were specific colorways, people were somehow glorifying luxuriousness.” This gradual proof of concept finally convinced leadership to commit resources. From 2022 onwards, the company began developing its own products, marking a shift from localization to original design.

“Think Inside the Box”: Design Process for Fast-Paced Markets

Ayush’s philosophy directly contradicts traditional design education. “I’ll say something controversial here. Since design school, you’re somehow pushed to think outside the box, which is obviously a place where you can actually drive some sort of innovation. But if you work in a company that’s going for mass production, catering to large audiences at a fast pace, these consumers are not normal consumers. They’re not faithful to you. There are so many brands in the same market, so you have to innovate as fast as possible. And obviously, if you understand the market, innovation comes with time.” The solution challenges design orthodoxy: “The shortest way for you to reach innovation is change the outer aesthetics. If you think outside the box, you incur a lot of R&D costs. That will go through numerous approvals, numerous discussions back and forth from your manufacturing units. And that’s basically a lead time of one and a half to two years. In that time, there’ll be five to ten competitors who will come and go.”

The practical framework becomes clear: “We realized it’s a place where we need to set up our process in which we think inside the box, because an earphone or a speaker will look like an earphone or speaker. That’s the example I give to any person I ever hired. If you’re trying to design a car, it will look like a car. You cannot make it look like a plane.” The design process itself had to be restructured to bypass sketching and go straight to 3D. “There’s no point for us to sit down and make a sketch and me going to a founder who has nothing to do with the design process, who doesn’t care about why it takes you so much time. He only cares about: have you made something for me that I can produce.” Perhaps most revealing is Ayush’s assessment of what the job actually entails: “Design is the easy job. Design is literally five percent of what I actually do. Ninety-five percent is, irrespective of whether it’s a design by me or my team, I have to go and meet so many people from different teams who don’t care about what it took you to make this design. And just go there and be open-ended to receiving any kind of feedback and just sell that design. Being a great designer doesn’t mean you can design something, it’s how well you can sell it to other people.”

The Copy-Paste Reality and Cultivating Real Creativity

The copy-paste culture creates fundamental challenges for original work. “When there’s no good design, there’s no bad design, then there’s only the design that is known. So what you see is what you can weigh. Any person who’s beyond design will never be able to appreciate that as something new. And for a company that’s super price-critical, for a company that wants to innovate every six months, they’ll only want a bet that’s tried and tested.” When given explicit instructions to copy, Ayush developed a strategy of creative resistance: “I’ll be put in a position by a certain CXO or member I’m reporting to, basically laid out saying copy this. And I would come up being smart enough, trying to make a window, and I’d say okay, I’ll copy this, but I’ll give you my understanding of what it should look like. And then I would be basically thrashed, and they would say no, I told you to copy this. So I would end up going as close as it is to the inspiration, but I was still trying to stay away from it. The winning situation for me is how well can I sell that this looks like that, but it’s not the same, but this will work for you.”

The impact on designers working in these environments is profound. “We’re basically finishing up all the resources left for aesthetics, because there’s no innovation to back it up, right? So there will be a time where I’ll end up using all the innovations in terms of CMF at that given price tag. And the next people who take my position will not have anything left to innovate on. The people who I hire as interns or full-timers will come and explore the same thing that we did three years back. You’re following the same pathway that I did ten years back or five years back. So you’re bound to make the same mistakes to reach there.” His advice to his team reflects the only path he’s found to sustained growth: “The only way you can cultivate creativity is by doing something beyond what you’re getting paid for. I would just ask these people working with me to spend more time outside. The real work for a designer begins after the nine to five. Once you go back home, the kind of people you interact with, the kind of platforms you sit on, maybe Yanko Design, maybe Behance, any platforms that can somehow make you ask a question. People used to ask me, how are you able to execute things so fast? I optimized my working by making so many mistakes in my personal projects that I can go to my office next morning and do the same thing in half an hour.”

Speaking Up: From Skill to Creator

For Ayush, the path to changing the industry starts with designers finding their voice. “I think for designers to speak up. In a room, I’ve been the biggest introvert my entire life. But I realized if I don’t speak up, no one will care about design. And it’s on the place of basically shouting design, not just talking about it. Being in a place where you can speak up, and just taking that narrative, just start with being the face of design in the company. Maybe you’re in a junior role or a senior role, start sharing opinions. Even the people working within my team at the moment are very shy in terms of sharing opinions to a founder or to a person from a different team. They’ll slide in my DMs and say, this is what I feel. And I say you should be open about it. If you don’t share it, they will never respect your opinions.”

The fundamental shift needed is in how designers are perceived. “At the moment, designers are seen as skills rather than creators. That’s the one narrative that I’m completely against and I try to push off. People should start seeing you as creators, because if they believe you’re a skill, then they’ll always try to guide you to do a certain thing, maybe copying designs or just following exactly what they’re asking you to do. In that process, you’ll burn out faster than anything because you’re trying to follow someone else’s vision of something. You’re just becoming a tool in between. Better than being a tool, you become a creator when you start speaking out and defending everything you’ve learned.” When challenged to prove an in-house team could outperform an expensive European consultancy, Ayush’s answer centers on empathy and collaboration: “An in-house team can always win through a solution which I call just talking to people. Any person who’s somehow involved in the process, if you truly talk to them and empathize and learn their side of work in the process, then you can create a solution that’s not only good-looking but also satisfying their needs.” His mentoring philosophy distills to a single essential quality: “The cheat sheet is, how much do you love it? That’s the biggest cheat sheet. If you’re not in love with it in India, you will not sustain. And a love beyond boundaries, a love that cannot be sacrificed, a love that you never turn away from.”

The conversation reveals an uncomfortable truth about design investment in India’s fast-growing consumer tech sector. The issue isn’t whether companies use the word “design” in their marketing or mission statements. The question is whether they empower internal teams to think or simply execute, whether they’re building design capabilities or just design departments. Ayush’s journey from rendering specialist to R&D leader demonstrates that change is possible, but it requires designers to be strategists, salespeople, and advocates as much as creatives. It demands proving commercial value repeatedly, speaking up even when it’s uncomfortable, and cultivating skills outside of work hours that will never appear in any job description.

For designers navigating similar environments, Ayush’s experience offers both validation and a roadmap. The constraints are real, the frustrations legitimate, but within those limitations, there’s still room to push boundaries, build trust, and gradually shift the conversation from “make it cheaper” to “make it ours.” You can connect with Ayush on LinkedIn or book a mentoring session with him on ADPList, where he’s been recognized as one of the top ten mentors multiple times.

Design Mindset premieres every week, bringing honest conversations about what it really takes to build a design career in today’s industry. Episode 18 is Powered by KeyShot, the 3D rendering and visualization software helping in-house design teams compete with the visual quality of global agencies.

Download your Free Trial of KeyShot Here

The post “Stop Treating Designers as Tools”: Ayush Singh on Ownership, Burnout and Speaking Up in Indian Brands first appeared on Yanko Design.

How Collaborative Tools are Revolutionizing the Design Pipeline: An Interview with KeyShot

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The journey of creating a product doesn’t end at design—it’s where it begins. KeyShot, a trusted name in product visualization and rendering, is evolving that journey with its innovative Product Design-to-Market Suite. Imagine a world where designers, developers, and marketers don’t work in silos but move together in perfect sync. That’s the vision KeyShot is bringing to life, and it’s already shaking up workflows for companies big and small.

We sat down with Garin Gardiner, Product Director of KeyShot Hub, to uncover how this suite is solving challenges designers didn’t even know had solutions. From effortless collaboration to smarter asset management, KeyShot isn’t just keeping up with the demands of the design world—it’s rewriting the rules. Dive into this conversation to explore how KeyShot is empowering creators to dream big and deliver faster.

Click Here to Download Now: The whitepaper for an in-depth look at how this new framework can transform your business.

Yanko Design: What specific areas in the product design process does KeyShot’s new Product Design-to-Market Suite address? How does this optimize a business’ workflow in ways that older versions of KeyShot didn’t?

Garin Gardiner: Our flagship product, KeyShot Studio, is primarily geared towards the individual designer. It was the first scientifically accurate rendering engine, now used in over two-thirds of Fortune 500 companies, with thousands of customers around the world. We’ve always worked closely with our customers to keep Studio relevant to their needs, and over two decades of development, we learned about other significant needs related to the design process, team workflows and business logistics. We saw a huge opportunity to help – and to revolutionize the way products are brought to market.

We’re introducing a concept called Product Design-to-Market, which is a holistic strategy that connects the many departments involved in product creation and market delivery. You can think of it as bridging the product design and go-to-market processes. Instead of working in silos, we’re encouraging a smooth exchange of information and assets across design, development and marketing teams. The result is faster iteration, better alignment, and a seamless transition from first sketch to market delivery.

Of course, you need the right tools to make this vision a reality. Our Product Design-to-Market Suite, which includes KeyShot Studio, also provides comprehensive design team support in KeyShot Hub and connection to the management and distribution of marketing assets in KeyShot Dock.

Yanko Design: How have early adopters responded to KeyShot Hub’s collaboration capabilities, and can you share how it has improved their design process?

Garin Gardiner: It is amazing how nearly every customer we’ve talked to, when we ask them how they’re navigating team workflows, say they struggle managing a central repository for their team to find the core items they use frequently. When individuals can’t find what they’re looking for, they often create duplications, and there’s so much time wasted in that. Hub provides that central repository, so everyone has access to the current version of the file, meaning no duplications are necessary. Plus, changes to the file can automatically be tracked and you can easily revert back to a previous version.

Another favorite is the shared material library in Hub. Customers say being able to work from the same material library makes a huge difference. If a material gets modified, the entire team will automatically get the latest and greatest the next time they use a material. They are also able to tag it for easier searchability, so they aren’t creating duplicate materials, like they often do today.

Hub’s related assets feature is really resonating with customers. When you apply materials to a scene and save it to the Hub, you are able to see all those materials linked to the scene in the Hub for a quick CMF view of your scene.

Tagging is another feature customers appreciate. When saving a rendering to the Hub it will automatically attach tags – Model Sets, Camera, Studio, Environment, Image Style, Colorway, and Materials. These tags can then be used to search for renderings. Searches can be saved for later re-use by all members of the team. Our customers care a lot about their CMF – it’s a key aspect of what they do. They can also manually update tags if they prefer.

Customers are also loving the side-by-side comparison feature between versions. You can select two versions and real-time compare them using a dynamic slider; it’s really helpful to compare differences between versions, especially when the differences are in small details. Our customers create a lot of versions of the same rendering and being able to compare versions side-by-side is helpful.

These are all features that Hub users say address the team and workflow challenges they’re facing today. Ultimately, it’s all about saving time and enabling easy collaboration, so designers can focus on their craft rather than administrative tasks. And you can see how everything works in a full demo of Hub available on YouTube.

Yanko Design: What developments in other industries are providing inspiration for KeyShot as it paves the way forward with its new Product Design-to-Market Suite?

Garin Gardiner: There’s certainly movement toward breaking down silos and supporting cross-collaboration. We have seen how companies like Microsoft have enabled richer collaboration using the cloud through their Teams platform. We have also seen design tools like Fusion transform how their customers work with Fusion Team.

These developments were part of what inspired us to offer a purpose-built Product Design-to-Market Suite to better support our customers. Now KeyShot provides speedy and intuitive rendering, support for design team workflows, and support for marketing.

Yanko Design: We’re very excited about KeyShot Dock’s enhanced Digital Asset Management system! How do you envision it helping companies better organize and distribute their 3D assets across marketing and sales channels?

Garin Gardiner: Right now, marketing teams are typically responsible for generating their own images and animations, separate from product design. They budget for product visuals and often make them from scratch, spending time and money on photography and design work. But they could be saving time and money by repurposing the 3D renderings already produced by design teams, which make it easy to create an infinite amount of marketing-worthy product visuals. CAD models and KeyShot scenes can be stored in KeyShot Dock, providing a connection between marketing and product design and empowering marketing to use those assets across go-to-market channels.

Our customers tell us that 3D visuals are much more effective than 2D images or product photography; 3D visuals lead to higher conversions and lower return rates.

Customers can expect regular updates to Dock. Over time, we are looking to enable viewing 3D interactive files like GLBs and even the possibility of generating on-demand 3D viewables from CAD models like SolidWorks, STEP and more.

Yanko Design: How do you see technologies like AI and machine learning influencing the future of 3D rendering and Digital Asset Management, and will KeyShot incorporate these innovations?

Garin Gardiner: We’re considering how to incorporate AI into our tools in a way that adds value to users. While generative AI can provide impressive results in image generation, we still believe that accurate rendering – down to highly detailed materials and brand elements – will require physics-based rendering. However, we are analyzing how AI can help our customers achieve greater efficiency in their workflows or increase the speed and quality of rendering, through processes like sampling light rays used by rendering algorithms or denoising rendered images.

On the marketing side, AI has the potential to make it faster and easier for teams to generate 2D renderings as a replacement for physical photography. Imagine feeding AI with 100% accurate product data and using it to generate creative environments around accurate renderings.

These are all possibilities we’re looking at right now. AI has so much potential to provide creative and logistical support – it’s all about making the most of it.

Image Credits: Silvester Kössler

Click Here to Download Now: The whitepaper for an in-depth look at how this new framework can transform your business.

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Why KeyShot’s New ‘Product Design-to-Market Strategy’ is a BIG DEAL for Designers and Brands

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As industries evolve at breakneck speed, so too must the tools that power them. With increasing pressure to innovate quickly, deliver immersive experiences, and streamline processes, companies need solutions that can keep pace. Long known for its powerful 3D rendering capabilities, KeyShot is stepping into an expanded role with a vision that goes beyond just visuals. The brand is now introducing a comprehensive solution for the entire product design journey, or what they call their new ‘Product Design-to-Market’ framework. This shift promises to change how companies of all sizes design, collaborate, and deliver products to market, going well beyond simple 3D visualization (which KeyShot’s already proven to be a market leader in).

Click Here to Download Now: The whitepaper for an in-depth look at how this new framework can transform your business.

The Evolution of KeyShot

KeyShot’s 3D rendering software has been a staple for designers worldwide, offering photorealistic renderings and an intuitive workflow. But as industries change, so too must the tools that power them. Today, the product development process is a complex web of teams, assets, and software—often siloed and inefficient. Design, engineering, and marketing teams are tasked with bringing ideas to life while navigating scattered workflows and disconnected feedback loops.
Recognizing these challenges, KeyShot has expanded its scope to introduce a Product Design-to-Market Suite. This new approach aligns all stages of a product’s journey—from the first sketch to the moment it hits the market. The goal? A more unified, streamlined, and collaborative process that minimizes waste and maximizes creativity.

What is Product Design-to-Market?

The concept of Product Design-to-Market is simple but transformative. It’s a holistic strategy that bridges the gaps between the many departments involved in product creation. Instead of working in isolated silos, KeyShot’s vision encourages a fluid exchange of information and assets across design, development, and marketing teams. The result is faster iteration, better alignment, and a smoother transition from concept to market delivery.

For many companies, the current state of product design is far from optimal. Data is often scattered across platforms, teams work with outdated versions of assets, and crucial feedback gets lost in the shuffle. These inefficiencies cost time, money, and—perhaps most importantly—creativity. KeyShot’s Product Design-to-Market Suite seeks to eliminate these pain points by centralizing the entire process within one ecosystem.

KeyShot’s Expanded Offering

With this new vision, KeyShot has unveiled three key tools designed to revolutionize product design and delivery:

  • KeyShot Studio: The rendering tool we’ve previously known as KeyShot, KeyShot Studio remains a top choice for rendering photorealistic 3D visuals. Now with enhanced features, like improved texture baking and animation support, it integrates more deeply into the product development process, allowing teams to do much more than just rendering.
  • KeyShot Hub: A brand-new addition to the KeyShot family, Hub is all about collaboration. It’s a centralized platform where teams can manage scenes, assets, and versions, ensuring everyone stays in sync during the design journey. This tool aims to solve one of the biggest pain points in product development: the lack of a unified space for feedback and iteration.
  • KeyShot Dock: Formerly Digizuite’s DAM (Digital Asset Management), Dock takes the guesswork out of managing 3D assets across departments. It ensures that teams can access the right assets at the right time, helping to streamline the transition from design to marketing and beyond.

Together, these tools form a complete Product Design-to-Market Suite, designed to break down the barriers that have traditionally slowed product development.

Why This Matters for Designers and Businesses

In a landscape where time to market is critical and customer experience reigns supreme, KeyShot’s new direction offers a much-needed solution. For design teams, it means less time lost in tedious back-and-forths, fewer revisions, and more focus on creativity. For businesses, it translates to faster product launches, reduced costs, and a better alignment between design and marketing teams.

Whether you’re part of a small design studio or a large corporation, the ability to quickly adapt and deliver products to market can be a game-changer. KeyShot’s Product Design-to-Market Suite approach ensures that teams can iterate faster, collaborate more efficiently, and ultimately bring better products to life.

A New Era of Product Design

By expanding its role from rendering software to an all-encompassing design-to-market platform, KeyShot is positioning itself at the forefront of modern product development. This isn’t just a rebrand—it’s a reimagining of what’s possible when design, engineering, and marketing work in harmony. And as industries increasingly shift towards immersive experiences and rapid innovation, KeyShot’s vision offers a clear path forward.

For designers, it’s a chance to focus less on the logistics of development and more on pushing creative boundaries. For businesses, it’s an opportunity to streamline processes and deliver products that truly resonate with their audience.

Learn more about KeyShot’s Product Design-to-Market Suite and download the whitepaper for an in-depth look at how this new framework can transform your business.

Click Here to Download Now: The whitepaper for an in-depth look at how this new framework can transform your business.

Learn more about KeyShot’s Product Design-to-Market Suite

The post Why KeyShot’s New ‘Product Design-to-Market Strategy’ is a BIG DEAL for Designers and Brands first appeared on Yanko Design.

7 Rendering Tricks to make your KeyShot Renders look Completely Photorealistic

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Render by Ali Rouzbeh

These small tips will take your renders from average to awesome.

If you’re on this website reading this article, there’s a fair chance that you’re an Industrial Designer who 3D models and renders for a living, and if that’s true there’s an even fairer chance that you’ve heard of KeyShot. Touted by 88% of designers as the best software for realistic renders, KeyShot is known for two things, being intuitive and easy to use, and being great at creating good renders with low effort. However, just like how a great camera doesn’t make you a great photographer, a great software doesn’t automatically make your renders incredible. If you’ve used KeyShot for work, personal projects, or the occasional design competition, here are a few lesser-known tips that should completely revolutionize your rendering game. Use these tricks to upgrade your skill set, bookmark the article for later, and give KeyShot 2024 a download so you can put your new rendering skills to the test!

Click Here to Get Free KeyShot Pro + Keyshot Web

1. Perfection lies in imperfection

Render by Jay Bhosale

That might sound like a paradox, but look around you – nothing is perfect. Your phone has fingerprint marks on it, your table’s got a few scratches, the glass you’re drinking water from isn’t 100% geometrically perfect – its surface has marginal imperfections that cause light to reflect/refract in unique ways. If you want to look real, you have to embrace reality… and in reality, nothing’s perfect. Sure, your product render against a white background can be as perfect as possible, but if you’re looking for a photorealistic scenario render, obsess over the imperfections. Add dust and fingerprints to flat glossy surfaces, use bump maps pretty much anywhere you can, create scratches as a layer/label in your material, remove 100% sharp edges (everything is marginally rounded off), and most importantly, push objects out of alignment in your scene. No real-world scenario has stuff aligned perfectly. These settings alone should take you halfway to photorealism, because humans perceive imperfections as a part of reality.

2. Bokehs are everywhere

Render by Mads Hindhede Svanegaard

Your eyes are telescopic. They can’t focus on everything at the same time – you look at one thing and everything else blurs out. The blur is the key here, and it’s why portrait-mode photos on smartphones look great too. Seldom do you see photos of ANYTHING where every single item is in focus, and similarly, your renders need to ‘focus’ on that too. Go to the Camera tab on the top right and scroll down to the part that says Depth of Field. Activate it, adjust your focus distance, use the target button to click on the object you want to focus on, and set your F-stop to an appropriate number to ensure everything else is properly blurred. It’s easy to overdo the blurring, so once you find the right F-stop, raise it a little higher to err on the side of caution (don’t over-blur stuff, it’ll look fake). Remember, blurring takes a significant chunk of your rendering time, so if you DO use this tip, double or triple your rendering time per image. The results will come out fantastic.

3. Adjust your Image Settings

Render by Andrei Garbu

If you’ve ever used a camera, chances are you didn’t just point at a photo and hit the shutter button. You probably adjusted the exposure, aperture, ISO, and maybe played around with the white balance too. Think of the camera in KeyShot as a camera in real life – all it really does is capture the angle and focus… but there are still settings you need to tweak. Here, the Image Settings are your friend. Click on the Image tab on the top right corner and switch from Basic to Photographic. Now you can play with the exposure, contrast, white balance, highlights, shadows, midtones, and other parameters. You can even increase or decrease your image’s saturation to get you that perfect balance of colors, darkness, and light. Select ‘Linear’ in the Response Curve setting, enable the Curve editing feature below, and tinker away! It’s the secret sauce your renders need!

4. Beginners render, legends ‘Denoise’

Render by Sam Gwilt

Sometimes your renders just look grainy because you didn’t give them enough time to render out perfectly. Makes sense, you’re probably on a strict deadline and you don’t have 10-20 minutes to spare per render. Luckily, KeyShot’s Denoise feature in the Image Settings works like magic. They just blur out the grains in your renders, letting you ‘cheat’ your way through a quick render. Enable Denoise and watch as all the grains disappear miraculously. Set your Denoise level to around 0.6 for a balanced effect – setting it too high will give you weirdly blurry/smudgy renders, and setting it too low will give you grainy images. The Denoise feature works VERY well when you’re using the Depth of Field setting too, allowing you to easily cut down your rendering time without cutting down on quality.

5. Caustics are a headache, but they’re worth it

Render by Tommy Cheong

If there’s any transparent object in your render, chances are that it won’t just absorb or block light, it’ll bend light too. If you’ve ever looked at a reflection of a glass of water on a table, or those bright lines at the bottom of a swimming pool, those are caustics. They’re caused by light being manipulated by transparent/translucent objects. Caustics in KeyShot remain disabled by default, but that’s only because they’re kind of an absolute headache. They require a truckload of CPU/GPU power, take a LOT of time to perfect, and even more time to render. But if you nail your caustics, you’re guaranteed to get a few ‘wow’s from people who see your renders. The Caustics setting can be found in the Lighting tab in the top right corner. Enable it and also enable Global Illumination. Increase your ray bounces as well as your global illumination bounces, and if you’re using glass or plastic as a material, go to the material settings and increase the sample size. The problem here is that there will be a difference between what KeyShot shows you in the preview window, and what it actually renders, so the only way to really tell if you’ve done a good job is by rendering images, reviewing them, and then tweaking the settings. Rendering caustics also takes a LOT of time, and here Denoise won’t help you. You just need to trust the process and let KeyShot do its job simulating the bouncing of light to create those caustic refractions. Like I told you, it’s a bit of a headache, but the rewards pay off well.

6. If you’re thinking fabrics, think RealCloth™

Render by Hossein Alfideh Fard

Perhaps one of KeyShot’s most underrated materials, RealCloth adds unbelievably photorealistic cloth effects to any fabric in your scene. Whether it’s a tablecloth, the upholstery of a sofa, or even the strap of a camera, RealCloth’s one job is to mimic the woven effect of any kind of cloth. It adds depth, weave-patterns, and even lets you bake in imperfections like flyaway fibers and threads. If you’re simulating photorealism, chances are one of the objects in your scene has a fabric texture (it could be something as small as a cloth tag on a product). If it does, tap into the power of RealCloth to get that absolutely perfect cloth effect. Don’t rely on fabric bump maps online, trust me they won’t give you the precise control or sheer jaw-dropping dynamism that RealCloth will.

7. Shadows are just as important as lights

Render by Will Gibbons

When you’re setting your scene, don’t focus all your energy on getting the right highlights. Focus also on getting great shadows. This means ditching the HDRI lighting settings and actually adding physical lights to your scene. Photorealism requires work, and those drag-and-drop environments won’t help you achieve it. Sure, you can use the environments to create realistic reflections, like a sky reflecting off a windshield of a car… but there’s NO way that environment will create the dramatic shadows you need. For those, you’ll require area lights, point lights, and/or spotlights. You’ll have to add these lights to your project by assigning them as materials to random spheres and planes within your scene. Unlike the HDRI environments, these lights will create actual shadows that are crisp at some edges, blurry at others, and more importantly, shadows that overlap, warp, and interact with each other. Take your smartphone flash and hold it against your hand. Move the flash closer and see the shadow grow bigger, move it farther and see the shadow get smaller – the shadow’s shape and behavior are determined by physical lights in your scene, not by the environment lights. So add physical lights to your scene and keep those shadows in mind because while the eyes don’t ever focus on shadows, they do register them. A render without accurate shadows will just look… off.

Click Here to Get Free KeyShot Pro + Keyshot Web

The post 7 Rendering Tricks to make your KeyShot Renders look Completely Photorealistic first appeared on Yanko Design.

How to make a Domino Chain Reaction in KeyShot using the new ‘Physics Simulation’ feature

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Last year, a global survey crowned KeyShot as the “Best Rendering Software,” with 88% of designers overwhelmingly picking it for its incredibly photorealistic rendering capabilities. Now, with KeyShot’s newly unveiled Physics Simulation and Camera Keyframe features, the software is growing even more powerful, bringing real-world physics and camera effects to make your renders pop even more.

Click Here to Participate in the 2024 KeyShot Animation Challenge. Hurry! Challenge ends March 10th, 2024.

I put KeyShot’s Physics Simulation feature to the ultimate test by rendering a dramatic domino chain reaction scene. Setting up the simulation took hardly any time, with incredibly easy controls that took mere minutes to get the hang of. The results were jaw-dropping if I say so myself. In this article, I’ll show you how I managed to pull off one of my most exciting KeyShot rendering experiences ever. I’ll walk you through how I set the domino scene up, what parameters I input into the Physics Simulation window, and how you can recreate this scene, too. I’ll also share tips and tricks that can help you create some incredibly real simulations with objects falling, bouncing, and colliding with each other, absolutely enhancing your KeyShot rendering experience to a level like never before.

The entire scene was modeled in Rhino 7, starting by building one single domino, creating a spiral curve, and arraying multiple dominoes along the curve. The dominos were spaced at roughly 2 centimeters apart, ensuring the chain reaction would go smoothly from start to finish. The entire scene has a whopping 1182 dominoes in total; a little ambitious considering I was going to render the simulation on a 2022 gaming laptop.

Tilt the first domino to help kickstart the physics cycle

To use the simulation feature, import your scene into the latest version of KeyShot (2023-24) (get a free trial here), set the scale, add the materials, and pick the right environment. Before you use the physics feature, however, you need to prime your scene – in this case, it meant tilting the first domino forward so gravity would kick in during the simulation. The Physics Simulation feature can be found in the ‘Tools’ section on top. Clicking on it opens a separate window with a preview viewport, a bunch of settings, and an animation timeline on the bottom.

The Physics Simulation feature can be found in the Tools window

To begin with, pick the parts you want to apply physics to (these are the parts that will be influenced by gravity, so don’t pick stuff that remains stationary, like ground objects). The parts you don’t select will still influence your physics because moving objects will still collide with them. Once you’ve chosen what parts you want to move (aka the dominoes), select the ‘Shaded’ option so you can see them clearly in the viewport.

The settings on the left are rather basic but extremely powerful. You start by first setting the maximum simulation time (short animations require short simulations; considering mine was a long chain reaction, I chose 200 seconds), followed by Keyframes Per Second – This basically tells KeyShot to make your animation more detailed or choppy (think FPS, but for simulation). I prefer selecting 25 keyframes per second since I’m rendering my animation at 25fps (just to keep the simulation light), but you can bump things up to 60 keyframes per second, which gives your simulation smoother detail. You can then bump up your animation FPS to render high frame-rate videos that can then be slowed down for dramatic slow motion. Simulation quality dictates how well KeyShot factors the physics in – it’s at a default of 0.1, although if you feel like your simulation looks off, bump it up to a higher value.

The Physics Simulation Window

The remaining settings pertain to gravity and material properties. The gravity is set at Earth’s default of 9.81 m/s² – increasing it makes items heavier (and fall faster), and decreasing it makes objects float around for longer before descending. I set mine at 11 m/s² just to make sure the dominoes fall confidently. Friction determines the amount of drag caused by two colliding objects – setting a higher friction causes more surface interference, like dropping a cube on a ramp made of rubber, and reducing the friction enables smooth sliding, like the same cube on a polished metal ramp. To ensure that the dominos don’t stick to each other like they were made of rubber, I reduced my friction setting to 0.4. Finally, a Bounciness feature lets you determine how two objects collide – the lower this setting, the less bounce-back, the higher the setting, the more the rebound. Given that I didn’t want my dominos bouncing off each other, I set this at a low of 0.01. Once you’re done, hit the Begin Simulation button to watch the magic unfold.

If you aren’t happy with your simulation, you can stop it mid-way and troubleshoot. Usually, tinkering with the settings helps achieve the right simulation, but here’s something I learned, too – bigger objects fall slower than smaller objects, so playing around with the size and scale of your model can really affect the simulation. If, however, you’re happy with your simulation (you can run through it in the video timeline below), just hit the blue ‘OK’ button, and you’ve successfully rendered your first physics simulation!

The simulation then becomes a part of KeyShot’s Animation timeline, and you can then play around with camera angles and movements to capture your entire scene just the way you visualized it. I created multiple clips of my incredibly long domino chain reaction (in small manageable chunks because my laptop crashed at least 8 times during this) and stitched them together in a video editing app.

Comparing KeyShot and Blender’s Physics Control Panels

The Physics Simulation feature in KeyShot 2023-24 is incredibly impressive. For starters, it’s a LOT easier than other software like Blender, which can feel a little daunting with the hundreds of settings it has you choose from. Figuring out physics simulation in KeyShot takes just a few minutes (although the actual simulation can take a while if you’re running something complex), making an already powerful rendering software feel even more limitless!

That being said, there’s some room for growth. Previous experiments with the simulation tool saw some strange results – falling objects sometimes ended up choosing their own direction, making the simulation feel odd (I made a watch fall down and the entire thing disassembled and scattered in mid-air instead of falling together and breaking apart on impact). Secondly, sometimes objects can go through each other instead of colliding, so make sure you tinker with quality settings to get the perfect result. Thirdly, you can’t choose different bounciness values for different objects in the same simulation just yet, although I’m sure KeyShot is working on it. Finally, it would be absolutely amazing if there were a ‘slow-motion’ feature. The current way to do this is to bump up the keyframe rate and bring down the gravity, but that can sometimes cause objects to drift away after colliding instead of falling downwards in slow motion.

So there you have it! You can use this tutorial to animate your own domino sequence, too, or better still, create a new simulation based on your own ideas! If you do, make sure to participate in the 2024 KeyShot Animation Challenge to stand a chance to win some exciting prizes. Hurry! The competition ends on March 10th, 2024!

The post How to make a Domino Chain Reaction in KeyShot using the new ‘Physics Simulation’ feature first appeared on Yanko Design.

The 2024 KeyShot Animation Challenge encourages Designers to push the limit with new Physics and Camera effects

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Even Instagram pivoted from photo to video content… and so should your renders! Sure, a JPG or PNG can be worth a thousand words, but think of how impactful product videos can be. KeyShot has always been at the forefront of the rendering industry, but with these new features, it aims to make video/animation just as easy as rendering images. The 2024 KeyShot Animation Challenge invites designers to explore KeyShot’s two most powerful animation tools – the Physics Simulation feature, and the Camera Keyframes feature.

These two tools unlock a vast array of possibilities – the Physics Simulation helps bring realism to your renders, letting you create falling/bouncing objects, colliding elements, and impactful scenes. Meanwhile, the Camera Keyframes tool allows you to go beyond the traditional zoom, pan, revolve movements and build a more unique and detailed camera path simply by adding keyframes and allowing the camera to glide between them. You can use either one or both tools in your submission to the challenge, which should be a video of 30 seconds maximum. The more imaginative the better.

Click Here to Participate in the 2024 KeyShot Animation Challenge. Hurry! Challenge ends March 10th, 2024.

How to participate:

  1. Download and Install KeyShot and use the trial code KSANIMATE24 to get free access
  2. Create a 30-second (max) rendered video exploring the Physics Simulation and/or the Camera Keyframe tools.
  3. Render your file in 1080p resolution
  4. Submit your entry by uploading and sharing your visuals on Instagram. Use the hashtag #KeyShotAnimation

Important Note: Finalists will be required to send their .ksp file, so be sure to save that in a safe place!

Timelines:

Challenge begins: February 8, 2024
Challenge ends: March 10, 2024

Prizes:

Gold Prize: KeyShot Pro Subscription + KeyShotWeb Subscription + Render showcased on KeyShot blog, Social Media, Newsletter and KeyShot startup window + A Will Gibbons Masterclass + Access to KeyShot Farms cloud rendering service for 1 week. (64-cores CPU or 1x RTX4090 GPU, value of $449.)
Silver Prize: KeyShot Pro Subscription + Render showcased on KeyShot blog, Social Media, Newsletter and KeyShot startup window + A Will Gibbons Masterclass
Bronze Prize: KeyShot Pro Subscription + Render showcased on KeyShot blog, Social Media, Newsletter and KeyShot startup window

Jury:

Karim Merchant – Senior Industrial Design and Creative Specialist, KeyShot
Reza Tari – Marketing Design Manager, KeyShot
Jordan Doane – Creative Support Specialist, KeyShot

Helpful Tips:

Learn about Physics Simulation and Camera Keyframes on the KeyShot YouTube channel. You can also dig into Animation in the KeyShot manual.

Need a model? Choose from thousands of models in the KeyShot Cloud Library.

Click Here to Participate in the 2024 KeyShot Animation Challenge. Hurry! Challenge ends March 10th, 2024.

The post The 2024 KeyShot Animation Challenge encourages Designers to push the limit with new Physics and Camera effects first appeared on Yanko Design.

KeyShot Announces Colorway Challenge on Instagram with Exciting Prizes and Free Subscriptions

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An indomitable force in the 3D Rendering space, KeyShot has announced “The KeyShot Colorway Rendering Challenge”, inviting designers to participate and win a free year of KeyShot Pro, Rendering Masterclasses from Will Gibbons, and many more prizes. The challenge is simple – explore KeyShot’s vast color library and render a product (any product of your choice) in multiple color variants. The contest, being held on Instagram, is open to all designers and is free to enter. Participants can download a free trial of KeyShot’s latest 2023 software, exploring its myriad of rendering features including the upgraded color library, 3D Paint, CMF Documentation, etc.

Click Here to Participate in the KeyShot Colorway Rendering Challenge Hurry! Challenge ends December 8th, 2023

Here’s how to participate:

  1. Download and Install KeyShot and use the trial code KSCOLOR23 to get free access
  2. Render your product in multiple color variants
  3. Submit your entry by uploading and sharing your visuals on Instagram. Use the hashtag #KeyShotColorway

The competition, which ends on December 8th 2023, will be judged by Karim Merchant (KeyShot Senior Industrial Design & Creative Specialist), Saskia Failla (KeyShot Creative Specialist), and Jan Simon (KeyShot Product Manager). Winners will be entitled to a free 1-year subscription to KeyShot Pro and KeyShot Web, free 1-week access to KeyShot Farms cloud rendering (64-cores), access to a Will Gibbons Rendering Masterclass, and have their winning designs showcased on KeyShot’s Blog, Social Media, Newsletter, as well as the KeyShot Startup Window for the tens of thousands of people using KeyShot every day.

Here’s a look at a few of our favorite entries from the KeyShot Colorway Challenge on Instagram.

Lamborghini Revuelto by Benoit Fraylon

Benoit Fraylon takes the Revuelto for a visual spin with his color explorations on the car’s angular body. Here we look at a matte-finish silver Revuelto, but Fraylon’s Instagram Post also explores chrome, electric blue, and a rather oddly appealing granite pattern!

Apple QuickTake 2024 by Caleb Taylor

I was today years old when I learnt that Apple actually designed (and sold) a point-and-shoot camera back in 1994. Dubbed the QuickTake, it is believed to be the first step in Apple’s digital photography dominance, and a spiritual successor to the iPhone. Caleb reinvented that point-and-shoot camera into a tiny iPhone-inspired action cam, giving it an adjustable screen, three lenses, and a few gorgeous color options in his IG post.

Meindl Boots by Bradley Brister

Bradley’s Instagram Post puts Meindl’s outdoor boots in their right setting. Nestled in a forest setting amidst some tufts of grass and rocky terrain, the boots look rather inviting with their vibrant yet outdoor-friendly color schemes. The red might be a little too eye-catching amidst the wilderness, but that yellow ocher looks absolutely divine, and for the more visually conservative, the olive green makes for a great pick.

Porsche Carrera Recaro Seat by Glen Cordle

Most sportscar interiors try to mimic the edginess of the car’s exteriors, but Glen Cordle wants variety. His Instagram Post highlights a few neat CMF options for the Porsche Carrera’s seat (manufactured by Recaro), ranging from a racy red black and white, to a rather classic houndstooth and suede variant that I honestly can’t get my eyes off of!

Fountain Pen by Rob Adams

There will come a time in our lifetimes when the fountain pen becomes as unrecognizable to younger generations as the audio cassette or floppy disk… but until then, it deserves every bit of spotlight possible. A successor to the quill, the fountain pen has remained one of the most powerful symbols of literature and even of leadership, given the fact that almost every law, treaty, and bill has been signed using a fountain pen. Rob Adams adds a bit of CMF exploration to the almighty pen in his, experimenting with classic colors like rose gold, but even pushing the boundaries with this fire-inspired variant, and even a transparent version, visible in his Instagram Post!

Click Here to Participate in the KeyShot Colorway Rendering Challenge Hurry! Challenge ends December 8th, 2023

The post KeyShot Announces Colorway Challenge on Instagram with Exciting Prizes and Free Subscriptions first appeared on Yanko Design.