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80 Level RT hat einen Link geteilt

2025-06-15 07:31:07 ·

Creating a Highly Detailed Tech-Inspired Scene with Blender

IntroductionHello! My name is Denys. I was born and raised in Nigeria, where I'm currently based. I began my journey into 3D art in March 2022, teaching myself through online resources, starting, of course, with the iconic donut tutorial on YouTube. Since then, I've continued to grow my skills independently, and now I'm working toward a career in 3D generalism, with a particular interest in environment art.I originally got into Blender because SketchUp wasn't free, and I could not keep up with the subscriptions. While searching for alternatives, I came across Blender. That's when I realized I had installed it once years ago, but back then, the interface completely intimidated me, and I gave up on it. This time, though, I decided to stick with it – and I'm glad I did.I started out creating simple models. One of my first big projects was modeling the entire SpongeBob crew. That led to my first animation, and eventually, the first four episodes of a short animated series. As I grew more confident, I began participating in online 3D competitions, like cgandwe, where I focused on designing realistic environments. Those experiences have played a huge role in getting me to where I am today.Getting Started Before starting any scene, I always look for references. It might not be the most original approach, but it's what works best for me. One piece that inspired me was a beautiful artwork by Calder Moore. I bookmarked it as soon as I saw it back in 2023, and luckily, I finally found the time to bring it to life last month.BlockoutThe goal was to match the original camera angle and roughly model the main frame of the structures. It wasn't perfect, but modeling and placing the lower docks helped me get the perspective right. Then I moved on to modeling and positioning the major structures in the scene.I gave myself two weeks to complete this project. And as much as I enjoy modeling, I also enjoy not modeling, so I turned to asset kits and free models to help speed things up. I came across an awesome paid kit by Bigmediumsmall and instantly knew it would fit perfectly into my scene.I also downloaded a few models from Sketchfab, including a lamp, desk console, freighter controls, and a robotic arm, which I later took apart to add extra detail. Another incredibly helpful tool was the Random Flow add-on by BlenderGuppy, which made adding sci-fi elements much easier. Lastly, I pulled in some models from my older sci-fi and cyberpunk projects to round things out.Kitbashing Once I had the overall shape I was aiming for, I moved on to kitbashing to pack in as much detail as possible. There wasn't any strict method to the madness; I simply picked assets I liked, whether it was a set of pipes, vents, or even a random shape that just worked in the sci-fi context. I focused first on kitbashing the front structure, and used the Random Flow add-on to fill in areas where I didn't kitbash manually. Then I moved on to the other collections, following the same process.The freighter was the final piece of the puzzle, and I knew it was going to be a challenge. Part of me wanted to model it entirely from scratch, but the more practical side knew I could save a lot of time by sticking with my usual method. So I modeled the main shapes myself, then kitbashed the details to bring it to life. I also grabbed some crates from Sketchfab to fill out the scene.Texturing This part was easily my favorite, and there was no shortcut here. I had to meticulously create each material myself. Well, I did use PBR materials downloaded from CGAmbient as a base, but I spent a lot of time tweaking and editing them to get everything just right.Texturing has always been my favorite stage when building scenes like this. Many artists prefer external tools like Substance 3D Painter, but I've learned so much about procedural texturing, especially from RyanKingArt, that I couldn't let it go. It's such a flexible and rewarding approach, and I love pushing it as far as I can.I wanted most of the colors in the scene to be dark, but I did keep the original color of the pipes and the pillars, just to add a little bit of vibrance to the scene. I also wanted the overall texture to be very rough and grungy. One of the biggest helps in achieving this was using the Grunge Maps from Substance 3D Painter. I found a way to extract them into Blender, and it helped.A major tool during the texturing phase was Jsplacement, which I used to procedurally generate sci-fi grids and plates. This was the icing on the cake for adding intricate details. Whenever an area felt too flat, I applied bump maps with these grids and panels to bring the materials to life. For example, both the lamp pole and the entire black metal material feature these Jsplacement Maps.Lighting For this, I didn't do anything fancy. I knew the scene was in a high altitude, so I looked for HDRI with a cloudless sky, and I boosted the saturation up a little to give it that high altitude look.Post-Production The rendering phase was challenging since I was working on a low-end laptop. I couldn't render the entire scene all at once, so I broke it down by collections and rendered them as separate layers. Then, I composited the layers together in post-production. I'm not big on heavy post-work, so I kept it simple, mostly tweaking brightness and saturation on my phone. That's about it for the post-production process.Conclusion The entire project took me 10 days to complete, working at least four hours each day. Although I've expressed my love for texturing, my favorite part of this project was the detailing and kitbashing. I really enjoyed piecing all the small details together. The most challenging part was deciding which assets to use and where to place them. I had a lot of greebles to choose from, but I'm happy with the ones I selected; they felt like a perfect fit for the scene.I know kitbashing sometimes gets a negative reputation in the 3D community, but I found it incredibly relieving. Honestly, this project wouldn't have come together without it, so I fully embraced the process.I'm excited to keep making projects like this. The world of 3D art is truly an endless and vast realm, and I encourage every artist like me to keep exploring it, one project at a time.Denys Molokwu, 3D Artist
#creating #highly #detailed #techinspired #scene

Creating a Highly Detailed Tech-Inspired Scene with Blender
IntroductionHello! My name is Denys. I was born and raised in Nigeria, where I'm currently based. I began my journey into 3D art in March 2022, teaching myself through online resources, starting, of course, with the iconic donut tutorial on YouTube. Since then, I've continued to grow my skills independently, and now I'm working toward a career in 3D generalism, with a particular interest in environment art.I originally got into Blender because SketchUp wasn't free, and I could not keep up with the subscriptions. While searching for alternatives, I came across Blender. That's when I realized I had installed it once years ago, but back then, the interface completely intimidated me, and I gave up on it. This time, though, I decided to stick with it – and I'm glad I did.I started out creating simple models. One of my first big projects was modeling the entire SpongeBob crew. That led to my first animation, and eventually, the first four episodes of a short animated series. As I grew more confident, I began participating in online 3D competitions, like cgandwe, where I focused on designing realistic environments. Those experiences have played a huge role in getting me to where I am today.Getting Started Before starting any scene, I always look for references. It might not be the most original approach, but it's what works best for me. One piece that inspired me was a beautiful artwork by Calder Moore. I bookmarked it as soon as I saw it back in 2023, and luckily, I finally found the time to bring it to life last month.BlockoutThe goal was to match the original camera angle and roughly model the main frame of the structures. It wasn't perfect, but modeling and placing the lower docks helped me get the perspective right. Then I moved on to modeling and positioning the major structures in the scene.I gave myself two weeks to complete this project. And as much as I enjoy modeling, I also enjoy not modeling, so I turned to asset kits and free models to help speed things up. I came across an awesome paid kit by Bigmediumsmall and instantly knew it would fit perfectly into my scene.I also downloaded a few models from Sketchfab, including a lamp, desk console, freighter controls, and a robotic arm, which I later took apart to add extra detail. Another incredibly helpful tool was the Random Flow add-on by BlenderGuppy, which made adding sci-fi elements much easier. Lastly, I pulled in some models from my older sci-fi and cyberpunk projects to round things out.Kitbashing Once I had the overall shape I was aiming for, I moved on to kitbashing to pack in as much detail as possible. There wasn't any strict method to the madness; I simply picked assets I liked, whether it was a set of pipes, vents, or even a random shape that just worked in the sci-fi context. I focused first on kitbashing the front structure, and used the Random Flow add-on to fill in areas where I didn't kitbash manually. Then I moved on to the other collections, following the same process.The freighter was the final piece of the puzzle, and I knew it was going to be a challenge. Part of me wanted to model it entirely from scratch, but the more practical side knew I could save a lot of time by sticking with my usual method. So I modeled the main shapes myself, then kitbashed the details to bring it to life. I also grabbed some crates from Sketchfab to fill out the scene.Texturing This part was easily my favorite, and there was no shortcut here. I had to meticulously create each material myself. Well, I did use PBR materials downloaded from CGAmbient as a base, but I spent a lot of time tweaking and editing them to get everything just right.Texturing has always been my favorite stage when building scenes like this. Many artists prefer external tools like Substance 3D Painter, but I've learned so much about procedural texturing, especially from RyanKingArt, that I couldn't let it go. It's such a flexible and rewarding approach, and I love pushing it as far as I can.I wanted most of the colors in the scene to be dark, but I did keep the original color of the pipes and the pillars, just to add a little bit of vibrance to the scene. I also wanted the overall texture to be very rough and grungy. One of the biggest helps in achieving this was using the Grunge Maps from Substance 3D Painter. I found a way to extract them into Blender, and it helped.A major tool during the texturing phase was Jsplacement, which I used to procedurally generate sci-fi grids and plates. This was the icing on the cake for adding intricate details. Whenever an area felt too flat, I applied bump maps with these grids and panels to bring the materials to life. For example, both the lamp pole and the entire black metal material feature these Jsplacement Maps.Lighting For this, I didn't do anything fancy. I knew the scene was in a high altitude, so I looked for HDRI with a cloudless sky, and I boosted the saturation up a little to give it that high altitude look.Post-Production The rendering phase was challenging since I was working on a low-end laptop. I couldn't render the entire scene all at once, so I broke it down by collections and rendered them as separate layers. Then, I composited the layers together in post-production. I'm not big on heavy post-work, so I kept it simple, mostly tweaking brightness and saturation on my phone. That's about it for the post-production process.Conclusion The entire project took me 10 days to complete, working at least four hours each day. Although I've expressed my love for texturing, my favorite part of this project was the detailing and kitbashing. I really enjoyed piecing all the small details together. The most challenging part was deciding which assets to use and where to place them. I had a lot of greebles to choose from, but I'm happy with the ones I selected; they felt like a perfect fit for the scene.I know kitbashing sometimes gets a negative reputation in the 3D community, but I found it incredibly relieving. Honestly, this project wouldn't have come together without it, so I fully embraced the process.I'm excited to keep making projects like this. The world of 3D art is truly an endless and vast realm, and I encourage every artist like me to keep exploring it, one project at a time.Denys Molokwu, 3D Artist #creating #highly #detailed #techinspired #scene

80.LV

Creating a Highly Detailed Tech-Inspired Scene with Blender

IntroductionHello! My name is Denys. I was born and raised in Nigeria, where I'm currently based. I began my journey into 3D art in March 2022, teaching myself through online resources, starting, of course, with the iconic donut tutorial on YouTube. Since then, I've continued to grow my skills independently, and now I'm working toward a career in 3D generalism, with a particular interest in environment art.I originally got into Blender because SketchUp wasn't free, and I could not keep up with the subscriptions. While searching for alternatives, I came across Blender. That's when I realized I had installed it once years ago, but back then, the interface completely intimidated me, and I gave up on it. This time, though, I decided to stick with it – and I'm glad I did.I started out creating simple models. One of my first big projects was modeling the entire SpongeBob crew. That led to my first animation, and eventually, the first four episodes of a short animated series (though it's still incomplete). As I grew more confident, I began participating in online 3D competitions, like cgandwe, where I focused on designing realistic environments. Those experiences have played a huge role in getting me to where I am today.Getting Started Before starting any scene, I always look for references. It might not be the most original approach, but it's what works best for me. One piece that inspired me was a beautiful artwork by Calder Moore. I bookmarked it as soon as I saw it back in 2023, and luckily, I finally found the time to bring it to life last month.BlockoutThe goal was to match the original camera angle and roughly model the main frame of the structures. It wasn't perfect, but modeling and placing the lower docks helped me get the perspective right. Then I moved on to modeling and positioning the major structures in the scene.I gave myself two weeks to complete this project. And as much as I enjoy modeling, I also enjoy not modeling, so I turned to asset kits and free models to help speed things up. I came across an awesome paid kit by Bigmediumsmall and instantly knew it would fit perfectly into my scene.I also downloaded a few models from Sketchfab, including a lamp, desk console, freighter controls, and a robotic arm, which I later took apart to add extra detail. Another incredibly helpful tool was the Random Flow add-on by BlenderGuppy, which made adding sci-fi elements much easier. Lastly, I pulled in some models from my older sci-fi and cyberpunk projects to round things out.Kitbashing Once I had the overall shape I was aiming for, I moved on to kitbashing to pack in as much detail as possible. There wasn't any strict method to the madness; I simply picked assets I liked, whether it was a set of pipes, vents, or even a random shape that just worked in the sci-fi context. I focused first on kitbashing the front structure, and used the Random Flow add-on to fill in areas where I didn't kitbash manually. Then I moved on to the other collections, following the same process.The freighter was the final piece of the puzzle, and I knew it was going to be a challenge. Part of me wanted to model it entirely from scratch, but the more practical side knew I could save a lot of time by sticking with my usual method. So I modeled the main shapes myself, then kitbashed the details to bring it to life. I also grabbed some crates from Sketchfab to fill out the scene.Texturing This part was easily my favorite, and there was no shortcut here. I had to meticulously create each material myself. Well, I did use PBR materials downloaded from CGAmbient as a base, but I spent a lot of time tweaking and editing them to get everything just right.Texturing has always been my favorite stage when building scenes like this. Many artists prefer external tools like Substance 3D Painter (which I did use for some of the models), but I've learned so much about procedural texturing, especially from RyanKingArt, that I couldn't let it go. It's such a flexible and rewarding approach, and I love pushing it as far as I can.I wanted most of the colors in the scene to be dark, but I did keep the original color of the pipes and the pillars, just to add a little bit of vibrance to the scene. I also wanted the overall texture to be very rough and grungy. One of the biggest helps in achieving this was using the Grunge Maps from Substance 3D Painter. I found a way to extract them into Blender, and it helped.A major tool during the texturing phase was Jsplacement, which I used to procedurally generate sci-fi grids and plates. This was the icing on the cake for adding intricate details. Whenever an area felt too flat, I applied bump maps with these grids and panels to bring the materials to life. For example, both the lamp pole and the entire black metal material feature these Jsplacement Maps.Lighting For this, I didn't do anything fancy. I knew the scene was in a high altitude, so I looked for HDRI with a cloudless sky, and I boosted the saturation up a little to give it that high altitude look.Post-Production The rendering phase was challenging since I was working on a low-end laptop. I couldn't render the entire scene all at once, so I broke it down by collections and rendered them as separate layers. Then, I composited the layers together in post-production. I'm not big on heavy post-work, so I kept it simple, mostly tweaking brightness and saturation on my phone. That's about it for the post-production process.Conclusion The entire project took me 10 days to complete, working at least four hours each day. Although I've expressed my love for texturing, my favorite part of this project was the detailing and kitbashing. I really enjoyed piecing all the small details together. The most challenging part was deciding which assets to use and where to place them. I had a lot of greebles to choose from, but I'm happy with the ones I selected; they felt like a perfect fit for the scene.I know kitbashing sometimes gets a negative reputation in the 3D community, but I found it incredibly relieving. Honestly, this project wouldn't have come together without it, so I fully embraced the process.I'm excited to keep making projects like this. The world of 3D art is truly an endless and vast realm, and I encourage every artist like me to keep exploring it, one project at a time.Denys Molokwu, 3D Artist

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Electronic Arts RT hat einen Link geteilt

2025-06-15 07:30:58 ·

Super Bowl Champion Saquon Barkley Is the EA SPORTS™ Madden NFL 26 Cover Star

June 02, 2025

Eagles Star Hurdles into Madden 99 Club and Iconic Madden NFL 26 Covers After Championship and Record-Setting Season

Fans Can Pre-Order* The EA SPORTS MVP Bundle Now To Get Madden NFL Deluxe Edition and Early Access To Madden NFL 26.
REDWOOD CITY, Calif.----
Electronic Arts Inc.and EA SPORTS™ announced today that Philadelphia Eagles running back Saquon Barkley will grace the cover of EA SPORTS™ Madden NFL 26, the first Eagle to do so in 20 years. Barkley’s record-setting season earned him both the cover and induction as the first member of the coveted Madden NFL 26 ‘99 Club.’ Barkley appears on two unique covers with one memorializing his spectacular reverse hurdle from last season. New features coming to Madden NFL 26 will be revealed this Wednesday, June 4 and Madden NFL 26 will launch worldwide on August 14 on Xbox Series X|S, PlayStation 5, Nintendo Switch 2, and PC via EA app for Windows, Steam, and Epic Games Store.Eagles Superstar Saquon Barkley Soars Onto Standard and Deluxe Covers Following Record-Setting, Super Bowl-Winning Season“Starring on the cover of Madden NFL 26 and being named to the Madden NFL ‘99 Club’ are both dreams come true,” said Barkley. “I’m grateful to my teammates, coaches, and Eagles fans for their support, and I can’t wait to hit the field again to give Madden players more highlight-reel moments in Madden NFL 26.”Barkley etched his name in the record books in 2024 with one of the most dominant seasons ever, becoming the first player in NFL history to rush for more than 2,500 yards in a single season, including playoffs, and leading Philadelphia to a Super Bowl LIX victory over the Kansas City Chiefs."Saquon's reverse hurdle was one of the rare, defining moments in NFL history that would have once been described as 'something out of a videogame,'” said Evan Dexter, VP, Franchise Strategy & Marketing, EA SPORTS Madden NFL. “Now, it’s a display of the athleticism and creativity of one football's most electrifying athletes. Madden NFL 26 will deliver the most real NFL experience we've ever built so that players can experience more of the unreal moments that Saquon put on display all season long. The full reveal is this Wednesday - don’t miss what’s next."Fans can pre-order* the Madden NFL 26 Deluxe Edition now to unlock a host of benefits, including 3-day early access, 4600 Madden Points, and a range of amazing extras. Pre-ordering* theEA SPORTS™ MVP Bundle for PlayStation®5 and Xbox Series X|S gets fans deluxe editions of EA SPORTS™ College Football 26 and Madden NFL 26, complete with 3-day early access and a suite of rewards for both games. EA Play** subscribers will enjoy a 10-hour early access trial alongside recurring monthly in-game bonuses for Madden NFL 26.Follow the Madden NFL 26 journey on the official website and social channelsfor the latest updates and stay tuned for the trailer and feature reveal coming Wednesday, June 4. Madden NFL 26 is developed by EA SPORTS in Orlando, Florida, and Madrid, Spain.*Conditions & restrictions apply.
See for details.
**Conditions, limitations and exclusions apply.
See EA Play Terms for details.For Madden NFL 26 assets, visit: EAPressPortal.com.About Electronic ArtsElectronic Artsis a global leader in digital interactive entertainment. The Company develops and delivers games, content and online services for Internet-connected consoles, mobile devices and personal computers.In fiscal year 2025, EA posted GAAP net revenue of approximately billion. Headquartered in Redwood City, California, EA is recognized for a portfolio of critically acclaimed, high-quality brands such as EA SPORTS FC™, Battlefield™, Apex Legends™, The Sims™, EA SPORTS™ Madden NFL, EA SPORTS™ College Football, Need for Speed™, Dragon Age™, Titanfall™, Plants vs. Zombies™ and EA SPORTS F1®. More information about EA is available at www.ea.com/news.EA, EA SPORTS, EA SPORTS FC, Battlefield, Need for Speed, Apex Legends, The Sims, Dragon Age, Titanfall, and Plants vs. Zombies are trademarks of Electronic Arts Inc. John Madden, NFL, and F1 are the property of their respective owners and used with permission.Category: EA Sports

Erin Exum
Director, Integrated CommsSource: Electronic Arts Inc.

Multimedia Files:
#super #bowl #champion #saquon #barkley

Super Bowl Champion Saquon Barkley Is the EA SPORTS™ Madden NFL 26 Cover Star
June 02, 2025 Eagles Star Hurdles into Madden 99 Club and Iconic Madden NFL 26 Covers After Championship and Record-Setting Season Fans Can Pre-Order* The EA SPORTS MVP Bundle Now To Get Madden NFL Deluxe Edition and Early Access To Madden NFL 26. REDWOOD CITY, Calif.---- Electronic Arts Inc.and EA SPORTS™ announced today that Philadelphia Eagles running back Saquon Barkley will grace the cover of EA SPORTS™ Madden NFL 26, the first Eagle to do so in 20 years. Barkley’s record-setting season earned him both the cover and induction as the first member of the coveted Madden NFL 26 ‘99 Club.’ Barkley appears on two unique covers with one memorializing his spectacular reverse hurdle from last season. New features coming to Madden NFL 26 will be revealed this Wednesday, June 4 and Madden NFL 26 will launch worldwide on August 14 on Xbox Series X|S, PlayStation 5, Nintendo Switch 2, and PC via EA app for Windows, Steam, and Epic Games Store.Eagles Superstar Saquon Barkley Soars Onto Standard and Deluxe Covers Following Record-Setting, Super Bowl-Winning Season“Starring on the cover of Madden NFL 26 and being named to the Madden NFL ‘99 Club’ are both dreams come true,” said Barkley. “I’m grateful to my teammates, coaches, and Eagles fans for their support, and I can’t wait to hit the field again to give Madden players more highlight-reel moments in Madden NFL 26.”Barkley etched his name in the record books in 2024 with one of the most dominant seasons ever, becoming the first player in NFL history to rush for more than 2,500 yards in a single season, including playoffs, and leading Philadelphia to a Super Bowl LIX victory over the Kansas City Chiefs."Saquon's reverse hurdle was one of the rare, defining moments in NFL history that would have once been described as 'something out of a videogame,'” said Evan Dexter, VP, Franchise Strategy & Marketing, EA SPORTS Madden NFL. “Now, it’s a display of the athleticism and creativity of one football's most electrifying athletes. Madden NFL 26 will deliver the most real NFL experience we've ever built so that players can experience more of the unreal moments that Saquon put on display all season long. The full reveal is this Wednesday - don’t miss what’s next."Fans can pre-order* the Madden NFL 26 Deluxe Edition now to unlock a host of benefits, including 3-day early access, 4600 Madden Points, and a range of amazing extras. Pre-ordering* theEA SPORTS™ MVP Bundle for PlayStation®5 and Xbox Series X|S gets fans deluxe editions of EA SPORTS™ College Football 26 and Madden NFL 26, complete with 3-day early access and a suite of rewards for both games. EA Play** subscribers will enjoy a 10-hour early access trial alongside recurring monthly in-game bonuses for Madden NFL 26.Follow the Madden NFL 26 journey on the official website and social channelsfor the latest updates and stay tuned for the trailer and feature reveal coming Wednesday, June 4. Madden NFL 26 is developed by EA SPORTS in Orlando, Florida, and Madrid, Spain.*Conditions & restrictions apply. See for details. **Conditions, limitations and exclusions apply. See EA Play Terms for details.For Madden NFL 26 assets, visit: EAPressPortal.com.About Electronic ArtsElectronic Artsis a global leader in digital interactive entertainment. The Company develops and delivers games, content and online services for Internet-connected consoles, mobile devices and personal computers.In fiscal year 2025, EA posted GAAP net revenue of approximately billion. Headquartered in Redwood City, California, EA is recognized for a portfolio of critically acclaimed, high-quality brands such as EA SPORTS FC™, Battlefield™, Apex Legends™, The Sims™, EA SPORTS™ Madden NFL, EA SPORTS™ College Football, Need for Speed™, Dragon Age™, Titanfall™, Plants vs. Zombies™ and EA SPORTS F1®. More information about EA is available at www.ea.com/news.EA, EA SPORTS, EA SPORTS FC, Battlefield, Need for Speed, Apex Legends, The Sims, Dragon Age, Titanfall, and Plants vs. Zombies are trademarks of Electronic Arts Inc. John Madden, NFL, and F1 are the property of their respective owners and used with permission.Category: EA Sports Erin Exum Director, Integrated CommsSource: Electronic Arts Inc. Multimedia Files: #super #bowl #champion #saquon #barkley

NEWS.EA.COM

Super Bowl Champion Saquon Barkley Is the EA SPORTS™ Madden NFL 26 Cover Star

June 02, 2025 Eagles Star Hurdles into Madden 99 Club and Iconic Madden NFL 26 Covers After Championship and Record-Setting Season Fans Can Pre-Order* The EA SPORTS MVP Bundle Now To Get Madden NFL Deluxe Edition and Early Access To Madden NFL 26. REDWOOD CITY, Calif.--(BUSINESS WIRE)-- Electronic Arts Inc. (NASDAQ: EA) and EA SPORTS™ announced today that Philadelphia Eagles running back Saquon Barkley will grace the cover of EA SPORTS™ Madden NFL 26, the first Eagle to do so in 20 years. Barkley’s record-setting season earned him both the cover and induction as the first member of the coveted Madden NFL 26 ‘99 Club.’ Barkley appears on two unique covers with one memorializing his spectacular reverse hurdle from last season. New features coming to Madden NFL 26 will be revealed this Wednesday, June 4 and Madden NFL 26 will launch worldwide on August 14 on Xbox Series X|S, PlayStation 5, Nintendo Switch 2, and PC via EA app for Windows, Steam, and Epic Games Store.Eagles Superstar Saquon Barkley Soars Onto Standard and Deluxe Covers Following Record-Setting, Super Bowl-Winning Season“Starring on the cover of Madden NFL 26 and being named to the Madden NFL ‘99 Club’ are both dreams come true,” said Barkley. “I’m grateful to my teammates, coaches, and Eagles fans for their support, and I can’t wait to hit the field again to give Madden players more highlight-reel moments in Madden NFL 26.”Barkley etched his name in the record books in 2024 with one of the most dominant seasons ever, becoming the first player in NFL history to rush for more than 2,500 yards in a single season, including playoffs, and leading Philadelphia to a Super Bowl LIX victory over the Kansas City Chiefs."Saquon's reverse hurdle was one of the rare, defining moments in NFL history that would have once been described as 'something out of a videogame,'” said Evan Dexter, VP, Franchise Strategy & Marketing, EA SPORTS Madden NFL. “Now, it’s a display of the athleticism and creativity of one football's most electrifying athletes. Madden NFL 26 will deliver the most real NFL experience we've ever built so that players can experience more of the unreal moments that Saquon put on display all season long. The full reveal is this Wednesday - don’t miss what’s next."Fans can pre-order* the Madden NFL 26 Deluxe Edition now to unlock a host of benefits, including 3-day early access, 4600 Madden Points, and a range of amazing extras. Pre-ordering* theEA SPORTS™ MVP Bundle for PlayStation®5 and Xbox Series X|S gets fans deluxe editions of EA SPORTS™ College Football 26 and Madden NFL 26, complete with 3-day early access and a suite of rewards for both games. EA Play** subscribers will enjoy a 10-hour early access trial alongside recurring monthly in-game bonuses for Madden NFL 26.Follow the Madden NFL 26 journey on the official website and social channels (Instagram, X, TikTok, YouTube) for the latest updates and stay tuned for the trailer and feature reveal coming Wednesday, June 4. Madden NFL 26 is developed by EA SPORTS in Orlando, Florida, and Madrid, Spain.*Conditions & restrictions apply. See https://www.ea.com/games/madden-nfl/madden-nfl-26/legal-disclaimers for details. **Conditions, limitations and exclusions apply. See EA Play Terms for details.For Madden NFL 26 assets, visit: EAPressPortal.com.About Electronic ArtsElectronic Arts (NASDAQ: EA) is a global leader in digital interactive entertainment. The Company develops and delivers games, content and online services for Internet-connected consoles, mobile devices and personal computers.In fiscal year 2025, EA posted GAAP net revenue of approximately $7.5 billion. Headquartered in Redwood City, California, EA is recognized for a portfolio of critically acclaimed, high-quality brands such as EA SPORTS FC™, Battlefield™, Apex Legends™, The Sims™, EA SPORTS™ Madden NFL, EA SPORTS™ College Football, Need for Speed™, Dragon Age™, Titanfall™, Plants vs. Zombies™ and EA SPORTS F1®. More information about EA is available at www.ea.com/news.EA, EA SPORTS, EA SPORTS FC, Battlefield, Need for Speed, Apex Legends, The Sims, Dragon Age, Titanfall, and Plants vs. Zombies are trademarks of Electronic Arts Inc. John Madden, NFL, and F1 are the property of their respective owners and used with permission.Category: EA Sports Erin Exum Director, Integrated Comms [email protected] Source: Electronic Arts Inc. Multimedia Files:

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Creative Boom RT hat einen Link geteilt

2025-06-15 07:30:50 ·

Inside the thinking behind Frontify Futures' standout brand identity

Who knows where branding will go in the future? However, for many of us working in the creative industries, it's our job to know. So it's something we need to start talking about, and Frontify Futures wants to be the platform where that conversation unfolds.
This ambitious new thought leadership initiative from Frontify brings together an extraordinary coalition of voices—CMOs who've scaled global brands, creative leaders reimagining possibilities, strategy directors pioneering new approaches, and cultural forecasters mapping emerging opportunities—to explore how effectiveness, innovation, and scale will shape tomorrow's brand-building landscape.
But Frontify Futures isn't just another content platform. Excitingly, from a design perspective, it's also a living experiment in what brand identity can become when technology meets craft, when systems embrace chaos, and when the future itself becomes a design material.
Endless variation
What makes Frontify Futures' typography unique isn't just its custom foundation: it's how that foundation enables endless variation and evolution. This was primarily achieved, reveals developer and digital art director Daniel Powell, by building bespoke tools for the project.

"Rather than rely solely on streamlined tools built for speed and production, we started building our own," he explains. "The first was a node-based design tool that takes our custom Frame and Hairline fonts as a base and uses them as the foundations for our type generator. With it, we can generate unique type variations for each content strand—each article, even—and create both static and animated type, exportable as video or rendered live in the browser."
Each of these tools included what Daniel calls a "chaos element: a small but intentional glitch in the system. A microstatement about the nature of the future: that it can be anticipated but never fully known. It's our way of keeping gesture alive inside the system."
One of the clearest examples of this is the colour palette generator. "It samples from a dynamic photo grid tied to a rotating colour wheel that completes one full revolution per year," Daniel explains. "But here's the twist: wind speed and direction in St. Gallen, Switzerland—Frontify's HQ—nudges the wheel unpredictably off-centre. It's a subtle, living mechanic; each article contains a log of the wind data in its code as a kind of Easter Egg."

Another favourite of Daniel's—yet to be released—is an expanded version of Conway's Game of Life. "It's been running continuously for over a month now, evolving patterns used in one of the content strand headers," he reveals. "The designer becomes a kind of photographer, capturing moments from a petri dish of generative motion."
Core Philosophy
In developing this unique identity, two phrases stood out to Daniel as guiding lights from the outset. The first was, 'We will show, not tell.'
"This became the foundation for how we approached the identity," recalls Daniel. "It had to feel like a playground: open, experimental, and fluid. Not overly precious or prescriptive. A system the Frontify team could truly own, shape, and evolve. A platform, not a final product. A foundation, just as the future is always built on the past."

The second guiding phrase, pulled directly from Frontify's rebrand materials, felt like "a call to action," says Daniel. "'Gestural and geometric. Human and machine. Art and science.' It's a tension that feels especially relevant in the creative industries today. As technology accelerates, we ask ourselves: how do we still hold onto our craft? What does it mean to be expressive in an increasingly systemised world?"
Stripped back and skeletal typography
The identity that Daniel and his team created reflects these themes through typography that literally embodies the platform's core philosophy. It really started from this idea of the past being built upon the 'foundations' of the past," he explains. "At the time Frontify Futures was being created, Frontify itself was going through a rebrand. With that, they'd started using a new variable typeface called Cranny, a custom cut of Azurio by Narrow Type."
Daniel's team took Cranny and "pushed it into a stripped-back and almost skeletal take". The result was Crany-Frame and Crany-Hairline. "These fonts then served as our base scaffolding," he continues. "They were never seen in design, but instead, we applied decoration them to produce new typefaces for each content strand, giving the identity the space to grow and allow new ideas and shapes to form."

As Daniel saw it, the demands on the typeface were pretty simple. "It needed to set an atmosphere. We needed it needed to feel alive. We wanted it to be something shifting and repositioning. And so, while we have a bunch of static cuts of each base style, we rarely use them; the typefaces you see on the website and social only exist at the moment as a string of parameters to create a general style that we use to create live animating versions of the font generated on the fly."
In addition to setting the atmosphere, it needed to be extremely flexible and feature live inputs, as a significant part of the branding is about the unpredictability of the future. "So Daniel's team built in those aforementioned "chaos moments where everything from user interaction to live windspeeds can affect the font."
Design Process
The process of creating the typefaces is a fascinating one. "We started by working with the custom cut of Azuriofrom Narrow Type. We then redrew it to take inspiration from how a frame and a hairline could be produced from this original cut. From there, we built a type generation tool that uses them as a base.
"It's a custom node-based system that lets us really get in there and play with the overlays for everything from grid-sizing, shapes and timing for the animation," he outlines. "We used this tool to design the variants for different content strands. We weren't just designing letterforms; we were designing a comprehensive toolset that could evolve in tandem with the content.
"That became a big part of the process: designing systems that designers could actually use, not just look at; again, it was a wider conversation and concept around the future and how designers and machines can work together."

In short, the evolution of the typeface system reflects the platform's broader commitment to continuous growth and adaptation." The whole idea was to make something open enough to keep building on," Daniel stresses. "We've already got tools in place to generate new weights, shapes and animated variants, and the tool itself still has a ton of unused functionality.
"I can see that growing as new content strands emerge; we'll keep adapting the type with them," he adds. "It's less about version numbers and more about ongoing movement. The system's alive; that's the point.
A provocation for the industry
In this context, the Frontify Futures identity represents more than smart visual branding; it's also a manifesto for how creative systems might evolve in an age of increasing automation and systematisation. By building unpredictability into their tools, embracing the tension between human craft and machine precision, and creating systems that grow and adapt rather than merely scale, Daniel and the Frontify team have created something that feels genuinely forward-looking.
For creatives grappling with similar questions about the future of their craft, Frontify Futures offers both inspiration and practical demonstration. It shows how brands can remain human while embracing technological capability, how systems can be both consistent and surprising, and how the future itself can become a creative medium.
This clever approach suggests that the future of branding lies not in choosing between human creativity and systematic efficiency but in finding new ways to make them work together, creating something neither could achieve alone.
#inside #thinking #behind #frontify #futures039

Inside the thinking behind Frontify Futures' standout brand identity
Who knows where branding will go in the future? However, for many of us working in the creative industries, it's our job to know. So it's something we need to start talking about, and Frontify Futures wants to be the platform where that conversation unfolds. This ambitious new thought leadership initiative from Frontify brings together an extraordinary coalition of voices—CMOs who've scaled global brands, creative leaders reimagining possibilities, strategy directors pioneering new approaches, and cultural forecasters mapping emerging opportunities—to explore how effectiveness, innovation, and scale will shape tomorrow's brand-building landscape. But Frontify Futures isn't just another content platform. Excitingly, from a design perspective, it's also a living experiment in what brand identity can become when technology meets craft, when systems embrace chaos, and when the future itself becomes a design material. Endless variation What makes Frontify Futures' typography unique isn't just its custom foundation: it's how that foundation enables endless variation and evolution. This was primarily achieved, reveals developer and digital art director Daniel Powell, by building bespoke tools for the project. "Rather than rely solely on streamlined tools built for speed and production, we started building our own," he explains. "The first was a node-based design tool that takes our custom Frame and Hairline fonts as a base and uses them as the foundations for our type generator. With it, we can generate unique type variations for each content strand—each article, even—and create both static and animated type, exportable as video or rendered live in the browser." Each of these tools included what Daniel calls a "chaos element: a small but intentional glitch in the system. A microstatement about the nature of the future: that it can be anticipated but never fully known. It's our way of keeping gesture alive inside the system." One of the clearest examples of this is the colour palette generator. "It samples from a dynamic photo grid tied to a rotating colour wheel that completes one full revolution per year," Daniel explains. "But here's the twist: wind speed and direction in St. Gallen, Switzerland—Frontify's HQ—nudges the wheel unpredictably off-centre. It's a subtle, living mechanic; each article contains a log of the wind data in its code as a kind of Easter Egg." Another favourite of Daniel's—yet to be released—is an expanded version of Conway's Game of Life. "It's been running continuously for over a month now, evolving patterns used in one of the content strand headers," he reveals. "The designer becomes a kind of photographer, capturing moments from a petri dish of generative motion." Core Philosophy In developing this unique identity, two phrases stood out to Daniel as guiding lights from the outset. The first was, 'We will show, not tell.' "This became the foundation for how we approached the identity," recalls Daniel. "It had to feel like a playground: open, experimental, and fluid. Not overly precious or prescriptive. A system the Frontify team could truly own, shape, and evolve. A platform, not a final product. A foundation, just as the future is always built on the past." The second guiding phrase, pulled directly from Frontify's rebrand materials, felt like "a call to action," says Daniel. "'Gestural and geometric. Human and machine. Art and science.' It's a tension that feels especially relevant in the creative industries today. As technology accelerates, we ask ourselves: how do we still hold onto our craft? What does it mean to be expressive in an increasingly systemised world?" Stripped back and skeletal typography The identity that Daniel and his team created reflects these themes through typography that literally embodies the platform's core philosophy. It really started from this idea of the past being built upon the 'foundations' of the past," he explains. "At the time Frontify Futures was being created, Frontify itself was going through a rebrand. With that, they'd started using a new variable typeface called Cranny, a custom cut of Azurio by Narrow Type." Daniel's team took Cranny and "pushed it into a stripped-back and almost skeletal take". The result was Crany-Frame and Crany-Hairline. "These fonts then served as our base scaffolding," he continues. "They were never seen in design, but instead, we applied decoration them to produce new typefaces for each content strand, giving the identity the space to grow and allow new ideas and shapes to form." As Daniel saw it, the demands on the typeface were pretty simple. "It needed to set an atmosphere. We needed it needed to feel alive. We wanted it to be something shifting and repositioning. And so, while we have a bunch of static cuts of each base style, we rarely use them; the typefaces you see on the website and social only exist at the moment as a string of parameters to create a general style that we use to create live animating versions of the font generated on the fly." In addition to setting the atmosphere, it needed to be extremely flexible and feature live inputs, as a significant part of the branding is about the unpredictability of the future. "So Daniel's team built in those aforementioned "chaos moments where everything from user interaction to live windspeeds can affect the font." Design Process The process of creating the typefaces is a fascinating one. "We started by working with the custom cut of Azuriofrom Narrow Type. We then redrew it to take inspiration from how a frame and a hairline could be produced from this original cut. From there, we built a type generation tool that uses them as a base. "It's a custom node-based system that lets us really get in there and play with the overlays for everything from grid-sizing, shapes and timing for the animation," he outlines. "We used this tool to design the variants for different content strands. We weren't just designing letterforms; we were designing a comprehensive toolset that could evolve in tandem with the content. "That became a big part of the process: designing systems that designers could actually use, not just look at; again, it was a wider conversation and concept around the future and how designers and machines can work together." In short, the evolution of the typeface system reflects the platform's broader commitment to continuous growth and adaptation." The whole idea was to make something open enough to keep building on," Daniel stresses. "We've already got tools in place to generate new weights, shapes and animated variants, and the tool itself still has a ton of unused functionality. "I can see that growing as new content strands emerge; we'll keep adapting the type with them," he adds. "It's less about version numbers and more about ongoing movement. The system's alive; that's the point. A provocation for the industry In this context, the Frontify Futures identity represents more than smart visual branding; it's also a manifesto for how creative systems might evolve in an age of increasing automation and systematisation. By building unpredictability into their tools, embracing the tension between human craft and machine precision, and creating systems that grow and adapt rather than merely scale, Daniel and the Frontify team have created something that feels genuinely forward-looking. For creatives grappling with similar questions about the future of their craft, Frontify Futures offers both inspiration and practical demonstration. It shows how brands can remain human while embracing technological capability, how systems can be both consistent and surprising, and how the future itself can become a creative medium. This clever approach suggests that the future of branding lies not in choosing between human creativity and systematic efficiency but in finding new ways to make them work together, creating something neither could achieve alone. #inside #thinking #behind #frontify #futures039

WWW.CREATIVEBOOM.COM

Inside the thinking behind Frontify Futures' standout brand identity

Who knows where branding will go in the future? However, for many of us working in the creative industries, it's our job to know. So it's something we need to start talking about, and Frontify Futures wants to be the platform where that conversation unfolds. This ambitious new thought leadership initiative from Frontify brings together an extraordinary coalition of voices—CMOs who've scaled global brands, creative leaders reimagining possibilities, strategy directors pioneering new approaches, and cultural forecasters mapping emerging opportunities—to explore how effectiveness, innovation, and scale will shape tomorrow's brand-building landscape. But Frontify Futures isn't just another content platform. Excitingly, from a design perspective, it's also a living experiment in what brand identity can become when technology meets craft, when systems embrace chaos, and when the future itself becomes a design material. Endless variation What makes Frontify Futures' typography unique isn't just its custom foundation: it's how that foundation enables endless variation and evolution. This was primarily achieved, reveals developer and digital art director Daniel Powell, by building bespoke tools for the project. "Rather than rely solely on streamlined tools built for speed and production, we started building our own," he explains. "The first was a node-based design tool that takes our custom Frame and Hairline fonts as a base and uses them as the foundations for our type generator. With it, we can generate unique type variations for each content strand—each article, even—and create both static and animated type, exportable as video or rendered live in the browser." Each of these tools included what Daniel calls a "chaos element: a small but intentional glitch in the system. A microstatement about the nature of the future: that it can be anticipated but never fully known. It's our way of keeping gesture alive inside the system." One of the clearest examples of this is the colour palette generator. "It samples from a dynamic photo grid tied to a rotating colour wheel that completes one full revolution per year," Daniel explains. "But here's the twist: wind speed and direction in St. Gallen, Switzerland—Frontify's HQ—nudges the wheel unpredictably off-centre. It's a subtle, living mechanic; each article contains a log of the wind data in its code as a kind of Easter Egg." Another favourite of Daniel's—yet to be released—is an expanded version of Conway's Game of Life. "It's been running continuously for over a month now, evolving patterns used in one of the content strand headers," he reveals. "The designer becomes a kind of photographer, capturing moments from a petri dish of generative motion." Core Philosophy In developing this unique identity, two phrases stood out to Daniel as guiding lights from the outset. The first was, 'We will show, not tell.' "This became the foundation for how we approached the identity," recalls Daniel. "It had to feel like a playground: open, experimental, and fluid. Not overly precious or prescriptive. A system the Frontify team could truly own, shape, and evolve. A platform, not a final product. A foundation, just as the future is always built on the past." The second guiding phrase, pulled directly from Frontify's rebrand materials, felt like "a call to action," says Daniel. "'Gestural and geometric. Human and machine. Art and science.' It's a tension that feels especially relevant in the creative industries today. As technology accelerates, we ask ourselves: how do we still hold onto our craft? What does it mean to be expressive in an increasingly systemised world?" Stripped back and skeletal typography The identity that Daniel and his team created reflects these themes through typography that literally embodies the platform's core philosophy. It really started from this idea of the past being built upon the 'foundations' of the past," he explains. "At the time Frontify Futures was being created, Frontify itself was going through a rebrand. With that, they'd started using a new variable typeface called Cranny, a custom cut of Azurio by Narrow Type." Daniel's team took Cranny and "pushed it into a stripped-back and almost skeletal take". The result was Crany-Frame and Crany-Hairline. "These fonts then served as our base scaffolding," he continues. "They were never seen in design, but instead, we applied decoration them to produce new typefaces for each content strand, giving the identity the space to grow and allow new ideas and shapes to form." As Daniel saw it, the demands on the typeface were pretty simple. "It needed to set an atmosphere. We needed it needed to feel alive. We wanted it to be something shifting and repositioning. And so, while we have a bunch of static cuts of each base style, we rarely use them; the typefaces you see on the website and social only exist at the moment as a string of parameters to create a general style that we use to create live animating versions of the font generated on the fly." In addition to setting the atmosphere, it needed to be extremely flexible and feature live inputs, as a significant part of the branding is about the unpredictability of the future. "So Daniel's team built in those aforementioned "chaos moments where everything from user interaction to live windspeeds can affect the font." Design Process The process of creating the typefaces is a fascinating one. "We started by working with the custom cut of Azurio (Cranny) from Narrow Type. We then redrew it to take inspiration from how a frame and a hairline could be produced from this original cut. From there, we built a type generation tool that uses them as a base. "It's a custom node-based system that lets us really get in there and play with the overlays for everything from grid-sizing, shapes and timing for the animation," he outlines. "We used this tool to design the variants for different content strands. We weren't just designing letterforms; we were designing a comprehensive toolset that could evolve in tandem with the content. "That became a big part of the process: designing systems that designers could actually use, not just look at; again, it was a wider conversation and concept around the future and how designers and machines can work together." In short, the evolution of the typeface system reflects the platform's broader commitment to continuous growth and adaptation." The whole idea was to make something open enough to keep building on," Daniel stresses. "We've already got tools in place to generate new weights, shapes and animated variants, and the tool itself still has a ton of unused functionality. "I can see that growing as new content strands emerge; we'll keep adapting the type with them," he adds. "It's less about version numbers and more about ongoing movement. The system's alive; that's the point. A provocation for the industry In this context, the Frontify Futures identity represents more than smart visual branding; it's also a manifesto for how creative systems might evolve in an age of increasing automation and systematisation. By building unpredictability into their tools, embracing the tension between human craft and machine precision, and creating systems that grow and adapt rather than merely scale, Daniel and the Frontify team have created something that feels genuinely forward-looking. For creatives grappling with similar questions about the future of their craft, Frontify Futures offers both inspiration and practical demonstration. It shows how brands can remain human while embracing technological capability, how systems can be both consistent and surprising, and how the future itself can become a creative medium. This clever approach suggests that the future of branding lies not in choosing between human creativity and systematic efficiency but in finding new ways to make them work together, creating something neither could achieve alone.

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2025-06-15 07:30:43 ·

Turning Points: Accept & Proceed

12 June, 2025

In our turning points series, design studios share some of the key moments that shaped their business. This week, we meet Accept & Proceed.

Accept & Proceed is a London based brand and design studio that works with clients like NASA, Nike and LEGO.
Founder David Johnston talks us through some of the decisions that defined his business.
In 2006, Johnston took the leap to start his own business, armed with a good name and a willingness to bend the truth about his team…
I’d gone through my career learning from big organisations, and one small organisation, and I felt like I wasn’t happy where I was. It was my dad who encouraged me to take a leap of faith and try and go it alone. With nothing more than a month’s wages in the bank and a lot of energy, I decided to go and set up an agency.
That really just means giving yourself a name and starting to promote yourself in the world.
Accept & Proceed founder David Johnston
I think the name itself is a very important thing. I wanted something that was memorable but also layered in meaning. A name that starts with an “a” is very beneficial when you’re being listed in the index of books and things like that.
But it became a bit of a compass for the way that we wanted to create work, around accepting the status quo for what it is, but with a continual commitment to proceed nonetheless.
Because I didn’t have anyone to work with, in those early months I just made up email addresses of people that didn’t exist. That allowed me to cost projects up for multiple people. That’s obviously a degree of hustle I wouldn’t encourage in everyone, but it meant I was able to charge multiple day rates for projects where I was playing the role of four or five people.
Self-initiated projects have long been part of the studio’s DNA and played a key role in building key client relationships.
A&P by… was a brief to explore these letterforms without any commercial intent apart from the joy of creative expression. I started reaching out to illustrators and artists and photographers and designers that I really rated, and the things that started coming back were incredible.
I was overwhelmed by the amount of energy and passion that people like Mr Bingo and Jason Evans were bringing to this.
I think in so many ways, the answer to everything is community. I’ve gone on to work with a lot of the people that created these, and they also became friends. It was an early example of dissolving these illusionary boundaries around what an agency might be, but also expanding and amplifying your potential.
The first of Accept & Proceed’s Light Calendars
Then in 2006, I was trying to establish our portfolio and I wanted something to send out into the world that would also be an example of how Accept & Proceed thinks about design. I landed on these data visualisations that show the amount of light and darkness that would happen in London in the year ahead.
I worked with a freelance designer called Stephen Heath on the first one – he is now our creative director.
This kickstarted a 10-year exploration, and they became a rite of passage for new designers that came into the studio, to take that very similar data and express it in completely new ways. It culminated in an exhibition in London in 2016, showing ten years’ of prints.
They were a labour of love, but they also meant that every single year we had a number of prints that we could send out to new potential contacts. Still when I go to the global headquarters of Nike in Beaverton in Portland, I’m amazed at how many of these sit in leaders’ offices there.
When we first got a finance director, they couldn’t believe how much we’d invested as a business in things like this – we even had our own gallery for a while. It doesn’t make sense from a purely numbers mindset, but if you put things out there for authentic reasons, there are ripple effects over time.
In 2017, the studio became a B-corp, the fourth creative agency in the UK to get this accreditation.
Around 2016, I couldn’t help but look around – as we probably all have at varying points over the last 10 years – and wondered, what the fuck is going on?
All these systems are not fit for purpose for the future – financial systems, food systems, relationship systems, energy systems. They’re not working. And I was like shit, are we part of the problem?
Accept & Proceed’s work for the NASA Jet Propulsion Laboratory
I’ve always thought of brand as a piece of technology that can fundamentally change our actions and the world around us. That comes with a huge responsibility.
We probably paid four months’ wages of two people full-time just to get accredited, so it’s quite a high bar. But I like that the programme shackles you to this idea of improvement. You can’t rest on your laurels if you want to be re-accredited. It’s like the way design works as an iterative process – you have to keep getting better.
In 2019, Johnston and his team started thinking seriously about the studio’s own brand, and created a punchy, nuanced new positioning.
We got to a point where we’d proven we could help brands achieve their commercial aims. But we wanted to hold a position ourselves, not just be a conduit between a brand and its audience.
It still amazes me that so few agencies actually stand for anything. We realised that all the things – vision, mission, principles – that we’ve been creating for brands for years, we hadn’t done for ourselves.
It’s a bit like when you see a hairdresser with a really dodgy haircut. But it’s hard to cut your own hair.
So we went through that process, which was really difficult, and we landed on “Design for the future” as our promise to the world.
And if you’re going to have that as a promise, you better be able to describe the world you’re creating through your work, which we call “the together world.”
Accept & Proceed’s work for Second Sea
We stand at this most incredible moment in history where the latest technology and science is catching up with ancient wisdom, to know that we must become more entangled, more together, more whole.
And we’ve assessed five global shifts that are happening in order to be able to take us towards a more together world through our work – interbeing, reciprocity, healing, resilience and liberation.
The year before last, we lost three global rebrand projects based on our positioning. Every one of them said to me, “You’re right but we’re not ready.”
But this year, I think the product market fit of what we’ve been saying for the last five years is really starting to mesh. We’re working with Arc’teryx on their 2030 landscape, evolving Nike’s move to zero, and working with LEGO on what their next 100 years might look like, which is mind-boggling work.
I don’t think we could have won any of those opportunities had we not been talking for quite a long time about design for the future.
In 2023, Johnston started a sunrise gathering on Hackney Marshes, which became a very significant part of his life.
I had the flu and I had a vision in my dreamy fluey state of a particular spot on Hackney Marshes where people were gathering and watching the sunrise. I happened to tell my friend, the poet Thomas Sharp this, and he said, “That’s a premonition. You have to make it happen.”
The first year there were five of us – this year there were 300 people for the spring equinox in March.
I don’t fully know what these gatherings will lead to. Will Accept & Proceed start to introduce the seasons to the way we operate as a business? It’s a thought I’ve had percolating, but I don’t know. Will it be something else?
One of the 2024 sunrise gatherings organised by Accept & Proceed founder David Johnston
I do know that there’s major learnings around authentic community building for brands. We should do away with these buckets we put people into, of age group and location. They aren’t very true. It’s fascinating to see the breadth of people who come to these gatherings.
Me and Laura were thinking at some point of moving out of London, but I think these sunrise gatherings are now my reason to stay. It’s the thing I didn’t know I needed until I had it. They have made London complete for me.
There’s something so ancient about watching our star rise, and the reminder that we are actually just animals crawling upon the surface of a planet of mud. That’s what’s real. But it can be hard to remember that when you’re sitting at your computer in the studio.
These gatherings help me better understand creativity’s true potential, for brands, for the world, and for us.

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Brand Identity
20 Nov, 2024
#turning #points #accept #ampamp #proceed

Turning Points: Accept & Proceed
12 June, 2025 In our turning points series, design studios share some of the key moments that shaped their business. This week, we meet Accept & Proceed. Accept & Proceed is a London based brand and design studio that works with clients like NASA, Nike and LEGO. Founder David Johnston talks us through some of the decisions that defined his business. In 2006, Johnston took the leap to start his own business, armed with a good name and a willingness to bend the truth about his team… I’d gone through my career learning from big organisations, and one small organisation, and I felt like I wasn’t happy where I was. It was my dad who encouraged me to take a leap of faith and try and go it alone. With nothing more than a month’s wages in the bank and a lot of energy, I decided to go and set up an agency. That really just means giving yourself a name and starting to promote yourself in the world. Accept & Proceed founder David Johnston I think the name itself is a very important thing. I wanted something that was memorable but also layered in meaning. A name that starts with an “a” is very beneficial when you’re being listed in the index of books and things like that. But it became a bit of a compass for the way that we wanted to create work, around accepting the status quo for what it is, but with a continual commitment to proceed nonetheless. Because I didn’t have anyone to work with, in those early months I just made up email addresses of people that didn’t exist. That allowed me to cost projects up for multiple people. That’s obviously a degree of hustle I wouldn’t encourage in everyone, but it meant I was able to charge multiple day rates for projects where I was playing the role of four or five people. Self-initiated projects have long been part of the studio’s DNA and played a key role in building key client relationships. A&P by… was a brief to explore these letterforms without any commercial intent apart from the joy of creative expression. I started reaching out to illustrators and artists and photographers and designers that I really rated, and the things that started coming back were incredible. I was overwhelmed by the amount of energy and passion that people like Mr Bingo and Jason Evans were bringing to this. I think in so many ways, the answer to everything is community. I’ve gone on to work with a lot of the people that created these, and they also became friends. It was an early example of dissolving these illusionary boundaries around what an agency might be, but also expanding and amplifying your potential. The first of Accept & Proceed’s Light Calendars Then in 2006, I was trying to establish our portfolio and I wanted something to send out into the world that would also be an example of how Accept & Proceed thinks about design. I landed on these data visualisations that show the amount of light and darkness that would happen in London in the year ahead. I worked with a freelance designer called Stephen Heath on the first one – he is now our creative director. This kickstarted a 10-year exploration, and they became a rite of passage for new designers that came into the studio, to take that very similar data and express it in completely new ways. It culminated in an exhibition in London in 2016, showing ten years’ of prints. They were a labour of love, but they also meant that every single year we had a number of prints that we could send out to new potential contacts. Still when I go to the global headquarters of Nike in Beaverton in Portland, I’m amazed at how many of these sit in leaders’ offices there. When we first got a finance director, they couldn’t believe how much we’d invested as a business in things like this – we even had our own gallery for a while. It doesn’t make sense from a purely numbers mindset, but if you put things out there for authentic reasons, there are ripple effects over time. In 2017, the studio became a B-corp, the fourth creative agency in the UK to get this accreditation. Around 2016, I couldn’t help but look around – as we probably all have at varying points over the last 10 years – and wondered, what the fuck is going on? All these systems are not fit for purpose for the future – financial systems, food systems, relationship systems, energy systems. They’re not working. And I was like shit, are we part of the problem? Accept & Proceed’s work for the NASA Jet Propulsion Laboratory I’ve always thought of brand as a piece of technology that can fundamentally change our actions and the world around us. That comes with a huge responsibility. We probably paid four months’ wages of two people full-time just to get accredited, so it’s quite a high bar. But I like that the programme shackles you to this idea of improvement. You can’t rest on your laurels if you want to be re-accredited. It’s like the way design works as an iterative process – you have to keep getting better. In 2019, Johnston and his team started thinking seriously about the studio’s own brand, and created a punchy, nuanced new positioning. We got to a point where we’d proven we could help brands achieve their commercial aims. But we wanted to hold a position ourselves, not just be a conduit between a brand and its audience. It still amazes me that so few agencies actually stand for anything. We realised that all the things – vision, mission, principles – that we’ve been creating for brands for years, we hadn’t done for ourselves. It’s a bit like when you see a hairdresser with a really dodgy haircut. But it’s hard to cut your own hair. So we went through that process, which was really difficult, and we landed on “Design for the future” as our promise to the world. And if you’re going to have that as a promise, you better be able to describe the world you’re creating through your work, which we call “the together world.” Accept & Proceed’s work for Second Sea We stand at this most incredible moment in history where the latest technology and science is catching up with ancient wisdom, to know that we must become more entangled, more together, more whole. And we’ve assessed five global shifts that are happening in order to be able to take us towards a more together world through our work – interbeing, reciprocity, healing, resilience and liberation. The year before last, we lost three global rebrand projects based on our positioning. Every one of them said to me, “You’re right but we’re not ready.” But this year, I think the product market fit of what we’ve been saying for the last five years is really starting to mesh. We’re working with Arc’teryx on their 2030 landscape, evolving Nike’s move to zero, and working with LEGO on what their next 100 years might look like, which is mind-boggling work. I don’t think we could have won any of those opportunities had we not been talking for quite a long time about design for the future. In 2023, Johnston started a sunrise gathering on Hackney Marshes, which became a very significant part of his life. I had the flu and I had a vision in my dreamy fluey state of a particular spot on Hackney Marshes where people were gathering and watching the sunrise. I happened to tell my friend, the poet Thomas Sharp this, and he said, “That’s a premonition. You have to make it happen.” The first year there were five of us – this year there were 300 people for the spring equinox in March. I don’t fully know what these gatherings will lead to. Will Accept & Proceed start to introduce the seasons to the way we operate as a business? It’s a thought I’ve had percolating, but I don’t know. Will it be something else? One of the 2024 sunrise gatherings organised by Accept & Proceed founder David Johnston I do know that there’s major learnings around authentic community building for brands. We should do away with these buckets we put people into, of age group and location. They aren’t very true. It’s fascinating to see the breadth of people who come to these gatherings. Me and Laura were thinking at some point of moving out of London, but I think these sunrise gatherings are now my reason to stay. It’s the thing I didn’t know I needed until I had it. They have made London complete for me. There’s something so ancient about watching our star rise, and the reminder that we are actually just animals crawling upon the surface of a planet of mud. That’s what’s real. But it can be hard to remember that when you’re sitting at your computer in the studio. These gatherings help me better understand creativity’s true potential, for brands, for the world, and for us. Design disciplines in this article Brands in this article What to read next Features Turning Points: Cultural branding agency EDIT Brand Identity 20 Nov, 2024 #turning #points #accept #ampamp #proceed

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Turning Points: Accept & Proceed

12 June, 2025 In our turning points series, design studios share some of the key moments that shaped their business. This week, we meet Accept & Proceed. Accept & Proceed is a London based brand and design studio that works with clients like NASA, Nike and LEGO. Founder David Johnston talks us through some of the decisions that defined his business. In 2006, Johnston took the leap to start his own business, armed with a good name and a willingness to bend the truth about his team… I’d gone through my career learning from big organisations, and one small organisation, and I felt like I wasn’t happy where I was. It was my dad who encouraged me to take a leap of faith and try and go it alone. With nothing more than a month’s wages in the bank and a lot of energy, I decided to go and set up an agency. That really just means giving yourself a name and starting to promote yourself in the world. Accept & Proceed founder David Johnston I think the name itself is a very important thing. I wanted something that was memorable but also layered in meaning. A name that starts with an “a” is very beneficial when you’re being listed in the index of books and things like that. But it became a bit of a compass for the way that we wanted to create work, around accepting the status quo for what it is, but with a continual commitment to proceed nonetheless. Because I didn’t have anyone to work with, in those early months I just made up email addresses of people that didn’t exist. That allowed me to cost projects up for multiple people. That’s obviously a degree of hustle I wouldn’t encourage in everyone, but it meant I was able to charge multiple day rates for projects where I was playing the role of four or five people. Self-initiated projects have long been part of the studio’s DNA and played a key role in building key client relationships. A&P by… was a brief to explore these letterforms without any commercial intent apart from the joy of creative expression. I started reaching out to illustrators and artists and photographers and designers that I really rated, and the things that started coming back were incredible. I was overwhelmed by the amount of energy and passion that people like Mr Bingo and Jason Evans were bringing to this. I think in so many ways, the answer to everything is community. I’ve gone on to work with a lot of the people that created these, and they also became friends. It was an early example of dissolving these illusionary boundaries around what an agency might be, but also expanding and amplifying your potential. The first of Accept & Proceed’s Light Calendars Then in 2006, I was trying to establish our portfolio and I wanted something to send out into the world that would also be an example of how Accept & Proceed thinks about design. I landed on these data visualisations that show the amount of light and darkness that would happen in London in the year ahead. I worked with a freelance designer called Stephen Heath on the first one – he is now our creative director. This kickstarted a 10-year exploration, and they became a rite of passage for new designers that came into the studio, to take that very similar data and express it in completely new ways. It culminated in an exhibition in London in 2016, showing ten years’ of prints. They were a labour of love, but they also meant that every single year we had a number of prints that we could send out to new potential contacts. Still when I go to the global headquarters of Nike in Beaverton in Portland, I’m amazed at how many of these sit in leaders’ offices there. When we first got a finance director, they couldn’t believe how much we’d invested as a business in things like this – we even had our own gallery for a while. It doesn’t make sense from a purely numbers mindset, but if you put things out there for authentic reasons, there are ripple effects over time. In 2017, the studio became a B-corp, the fourth creative agency in the UK to get this accreditation. Around 2016, I couldn’t help but look around – as we probably all have at varying points over the last 10 years – and wondered, what the fuck is going on? All these systems are not fit for purpose for the future – financial systems, food systems, relationship systems, energy systems. They’re not working. And I was like shit, are we part of the problem? Accept & Proceed’s work for the NASA Jet Propulsion Laboratory I’ve always thought of brand as a piece of technology that can fundamentally change our actions and the world around us. That comes with a huge responsibility. We probably paid four months’ wages of two people full-time just to get accredited, so it’s quite a high bar. But I like that the programme shackles you to this idea of improvement. You can’t rest on your laurels if you want to be re-accredited. It’s like the way design works as an iterative process – you have to keep getting better. In 2019, Johnston and his team started thinking seriously about the studio’s own brand, and created a punchy, nuanced new positioning. We got to a point where we’d proven we could help brands achieve their commercial aims. But we wanted to hold a position ourselves, not just be a conduit between a brand and its audience. It still amazes me that so few agencies actually stand for anything. We realised that all the things – vision, mission, principles – that we’ve been creating for brands for years, we hadn’t done for ourselves. It’s a bit like when you see a hairdresser with a really dodgy haircut. But it’s hard to cut your own hair. So we went through that process, which was really difficult, and we landed on “Design for the future” as our promise to the world. And if you’re going to have that as a promise, you better be able to describe the world you’re creating through your work, which we call “the together world.” Accept & Proceed’s work for Second Sea We stand at this most incredible moment in history where the latest technology and science is catching up with ancient wisdom, to know that we must become more entangled, more together, more whole. And we’ve assessed five global shifts that are happening in order to be able to take us towards a more together world through our work – interbeing, reciprocity, healing, resilience and liberation. The year before last, we lost three global rebrand projects based on our positioning. Every one of them said to me, “You’re right but we’re not ready.” But this year, I think the product market fit of what we’ve been saying for the last five years is really starting to mesh. We’re working with Arc’teryx on their 2030 landscape, evolving Nike’s move to zero, and working with LEGO on what their next 100 years might look like, which is mind-boggling work. I don’t think we could have won any of those opportunities had we not been talking for quite a long time about design for the future. In 2023, Johnston started a sunrise gathering on Hackney Marshes, which became a very significant part of his life. I had the flu and I had a vision in my dreamy fluey state of a particular spot on Hackney Marshes where people were gathering and watching the sunrise. I happened to tell my friend, the poet Thomas Sharp this, and he said, “That’s a premonition. You have to make it happen.” The first year there were five of us – this year there were 300 people for the spring equinox in March. I don’t fully know what these gatherings will lead to. Will Accept & Proceed start to introduce the seasons to the way we operate as a business? It’s a thought I’ve had percolating, but I don’t know. Will it be something else? One of the 2024 sunrise gatherings organised by Accept & Proceed founder David Johnston I do know that there’s major learnings around authentic community building for brands. We should do away with these buckets we put people into, of age group and location. They aren’t very true. It’s fascinating to see the breadth of people who come to these gatherings. Me and Laura were thinking at some point of moving out of London, but I think these sunrise gatherings are now my reason to stay. It’s the thing I didn’t know I needed until I had it. They have made London complete for me. There’s something so ancient about watching our star rise, and the reminder that we are actually just animals crawling upon the surface of a planet of mud. That’s what’s real. But it can be hard to remember that when you’re sitting at your computer in the studio. These gatherings help me better understand creativity’s true potential, for brands, for the world, and for us. Design disciplines in this article Brands in this article What to read next Features Turning Points: Cultural branding agency EDIT Brand Identity 20 Nov, 2024

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abdz RT hat einen Link geteilt

2025-06-15 07:30:35 ·

A19: Building a Bold Startup Branding and Visual Identity

06/11 — 2025

by abduzeedo

Explore the striking branding and visual identity of A19 Startup House. Discover how Tradition, Science, and Energy shaped this unique project.
Hey, creative folks! We've all seen projects that just click. You know, those designs that blend concept, execution, and purpose seamlessly. Today, we're diving into one such example: the A19 Startup House brand identity, designed by Mda Sanek. This project offers a masterclass in how strong branding and visual identity can truly embody an organization's mission.
The Heart of A19: Tradition, Science, Energy
A19 Startup House isn't just a building; it's a hub in central Yerevan dedicated to fostering a robust ecosystem for entrepreneurs. It links Armenia's rich legacy of innovators with global companies and emerging founders. The design brief for A19 called for a brand identity that resonated with its core pillars: Tradition, Science, and Energy.
This is where the magic happens. A designer's true skill shines when they translate abstract concepts into tangible visual elements. Mda Sanek's approach here is particularly insightful. They didn't just pick colors and fonts; they built a system around these foundational ideas.
Visual Language in Action
The visual identity artifacts showcased in the project truly bring A19 to life. Take a look at the web layout. The bold red, reminiscent of the physical building itself, creates an immediate impact. It's a color often associated with energy and passion, fitting for a startup accelerator.
Then there's the pictogram set and navigation system. These elements are crucial for wayfinding within a multi-functional space like A19, which includes coworking spaces, a restaurant, and offices. The clean, minimalist icons for "Meeting Room," "Coffee & Food," and "WC" demonstrate clarity and efficiency. This focus on intuitive UI/UX design ensures visitors can easily navigate the space. It’s a subtle yet powerful reinforcement of the brand’s scientific and precise ethos.
The choice of typography, including "BB Manual" and "Suisse Int'l," contributes significantly to the brand's voice. These sans-serif fonts often convey modernity, efficiency, and a touch of technical sophistication, aligning perfectly with the "Science" and "Energy" pillars. The consistent use of these fonts across various materials reinforces the brand's coherent visual identity.
Beyond the Static: Dynamic Elements
What's really captivating is how the branding extends beyond static assets. Consider the event schedules and timelines presented. The graphic representation of time slots and events, using distinct shapes and a clear visual hierarchy, makes information digestible. This thoughtful approach to data visualization speaks to the "Science" aspect, presenting complex information in a clear, organized manner.
Even the subtle animation studies for how the logo might evolve, transitioning from scattered points to a unified form, hint at the "Energy" of connection and growth that A19 aims to facilitate. It’s about building a strong ecosystem, visually represented.
Key Takeaway
Mda Sanek's work on the A19 Startup House branding and visual identity is a fantastic reminder that effective design is built on a deep understanding of core principles. By grounding the visual language in Tradition, Science, and Energy, the designer created a brand that is not only visually striking but also deeply meaningful and functional. It’s a holistic approach that ensures every touchpoint, from pictograms to web layouts, tells the same compelling story.
Ready to see more of Mda Sanek's insightful work? Explore their portfolio here:
Branding and visual identity artifacts

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#a19 #building #bold #startup #branding

A19: Building a Bold Startup Branding and Visual Identity
06/11 — 2025 by abduzeedo Explore the striking branding and visual identity of A19 Startup House. Discover how Tradition, Science, and Energy shaped this unique project. Hey, creative folks! We've all seen projects that just click. You know, those designs that blend concept, execution, and purpose seamlessly. Today, we're diving into one such example: the A19 Startup House brand identity, designed by Mda Sanek. This project offers a masterclass in how strong branding and visual identity can truly embody an organization's mission. The Heart of A19: Tradition, Science, Energy A19 Startup House isn't just a building; it's a hub in central Yerevan dedicated to fostering a robust ecosystem for entrepreneurs. It links Armenia's rich legacy of innovators with global companies and emerging founders. The design brief for A19 called for a brand identity that resonated with its core pillars: Tradition, Science, and Energy. This is where the magic happens. A designer's true skill shines when they translate abstract concepts into tangible visual elements. Mda Sanek's approach here is particularly insightful. They didn't just pick colors and fonts; they built a system around these foundational ideas. Visual Language in Action The visual identity artifacts showcased in the project truly bring A19 to life. Take a look at the web layout. The bold red, reminiscent of the physical building itself, creates an immediate impact. It's a color often associated with energy and passion, fitting for a startup accelerator. Then there's the pictogram set and navigation system. These elements are crucial for wayfinding within a multi-functional space like A19, which includes coworking spaces, a restaurant, and offices. The clean, minimalist icons for "Meeting Room," "Coffee & Food," and "WC" demonstrate clarity and efficiency. This focus on intuitive UI/UX design ensures visitors can easily navigate the space. It’s a subtle yet powerful reinforcement of the brand’s scientific and precise ethos. The choice of typography, including "BB Manual" and "Suisse Int'l," contributes significantly to the brand's voice. These sans-serif fonts often convey modernity, efficiency, and a touch of technical sophistication, aligning perfectly with the "Science" and "Energy" pillars. The consistent use of these fonts across various materials reinforces the brand's coherent visual identity. Beyond the Static: Dynamic Elements What's really captivating is how the branding extends beyond static assets. Consider the event schedules and timelines presented. The graphic representation of time slots and events, using distinct shapes and a clear visual hierarchy, makes information digestible. This thoughtful approach to data visualization speaks to the "Science" aspect, presenting complex information in a clear, organized manner. Even the subtle animation studies for how the logo might evolve, transitioning from scattered points to a unified form, hint at the "Energy" of connection and growth that A19 aims to facilitate. It’s about building a strong ecosystem, visually represented. Key Takeaway Mda Sanek's work on the A19 Startup House branding and visual identity is a fantastic reminder that effective design is built on a deep understanding of core principles. By grounding the visual language in Tradition, Science, and Energy, the designer created a brand that is not only visually striking but also deeply meaningful and functional. It’s a holistic approach that ensures every touchpoint, from pictograms to web layouts, tells the same compelling story. Ready to see more of Mda Sanek's insightful work? Explore their portfolio here: Branding and visual identity artifacts Tags branding #a19 #building #bold #startup #branding

ABDUZEEDO.COM

A19: Building a Bold Startup Branding and Visual Identity

06/11 — 2025 by abduzeedo Explore the striking branding and visual identity of A19 Startup House. Discover how Tradition, Science, and Energy shaped this unique project. Hey, creative folks! We've all seen projects that just click. You know, those designs that blend concept, execution, and purpose seamlessly. Today, we're diving into one such example: the A19 Startup House brand identity, designed by Mda Sanek. This project offers a masterclass in how strong branding and visual identity can truly embody an organization's mission. The Heart of A19: Tradition, Science, Energy A19 Startup House isn't just a building; it's a hub in central Yerevan dedicated to fostering a robust ecosystem for entrepreneurs. It links Armenia's rich legacy of innovators with global companies and emerging founders. The design brief for A19 called for a brand identity that resonated with its core pillars: Tradition, Science, and Energy. This is where the magic happens. A designer's true skill shines when they translate abstract concepts into tangible visual elements. Mda Sanek's approach here is particularly insightful. They didn't just pick colors and fonts; they built a system around these foundational ideas. Visual Language in Action The visual identity artifacts showcased in the project truly bring A19 to life. Take a look at the web layout. The bold red, reminiscent of the physical building itself, creates an immediate impact. It's a color often associated with energy and passion, fitting for a startup accelerator. Then there's the pictogram set and navigation system. These elements are crucial for wayfinding within a multi-functional space like A19, which includes coworking spaces, a restaurant, and offices. The clean, minimalist icons for "Meeting Room," "Coffee & Food," and "WC" demonstrate clarity and efficiency. This focus on intuitive UI/UX design ensures visitors can easily navigate the space. It’s a subtle yet powerful reinforcement of the brand’s scientific and precise ethos. The choice of typography, including "BB Manual" and "Suisse Int'l," contributes significantly to the brand's voice. These sans-serif fonts often convey modernity, efficiency, and a touch of technical sophistication, aligning perfectly with the "Science" and "Energy" pillars. The consistent use of these fonts across various materials reinforces the brand's coherent visual identity. Beyond the Static: Dynamic Elements What's really captivating is how the branding extends beyond static assets. Consider the event schedules and timelines presented. The graphic representation of time slots and events, using distinct shapes and a clear visual hierarchy, makes information digestible. This thoughtful approach to data visualization speaks to the "Science" aspect, presenting complex information in a clear, organized manner. Even the subtle animation studies for how the logo might evolve, transitioning from scattered points to a unified form, hint at the "Energy" of connection and growth that A19 aims to facilitate. It’s about building a strong ecosystem, visually represented. Key Takeaway Mda Sanek's work on the A19 Startup House branding and visual identity is a fantastic reminder that effective design is built on a deep understanding of core principles. By grounding the visual language in Tradition, Science, and Energy, the designer created a brand that is not only visually striking but also deeply meaningful and functional. It’s a holistic approach that ensures every touchpoint, from pictograms to web layouts, tells the same compelling story. Ready to see more of Mda Sanek's insightful work? Explore their portfolio here: https://www.behance.net/gallery/227764787/A19-Brand-Identity Branding and visual identity artifacts Tags branding

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2025-06-15 07:30:18 ·

8 Stunning Sunset Color Palettes

8 Stunning Sunset Color Palettes
Zoe Santoro •

In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.There’s something absolutely magical about watching the sun dip below the horizon, painting the sky in breathtaking hues that seem almost too beautiful to be real. As a designer, I find myself constantly inspired by these natural masterpieces that unfold before us every evening. The way warm oranges melt into soft pinks, how deep purples blend seamlessly with golden yellows – it’s like nature’s own masterclass in color theory.
If you’re looking to infuse your next project with the warmth, romance, and natural beauty of a perfect sunset, you’ve come to the right place. I’ve curated eight of the most captivating sunset color palettes that will bring that golden hour magic directly into your designs.
Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just /mo? Learn more »The 8 Most Breathtaking Sunset Color Palettes
1. Golden Hour Glow

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This palette captures that perfect moment when everything seems to be touched by liquid gold. The warm yellows transition beautifully into rich oranges and soft coral reds, creating a sense of warmth and optimism that’s impossible to ignore. I find this combination works wonderfully for brands that want to evoke feelings of happiness, energy, and positivity.
2. Tropical Paradise

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Inspired by those incredible sunsets you see in tropical destinations, this vibrant palette combines hot pinks with brilliant oranges and golden yellows. It’s bold, it’s energetic, and it’s perfect for projects that need to make a statement. I love using these colors for summer campaigns or anything that needs to capture that vacation feeling.
3. Desert Dreams

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The American Southwest produces some of the most spectacular sunsets on earth, and this palette pays homage to those incredible desert skies. The earthy browns blend into warm oranges before deepening into rich reds and burgundies. This combination brings a sense of grounding and authenticity that works beautifully for rustic or heritage brands.
4. Pastel Evening

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Not every sunset needs to be bold and dramatic. This softer palette captures those gentle, dreamy evenings when the sky looks like it’s been painted with watercolors. The delicate pinks, peaches, and lavenders create a romantic, ethereal feeling that’s perfect for wedding designs, beauty brands, or any project that needs a touch of feminine elegance.
5. Coastal Sunset

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There’s something special about watching the sun set over the ocean, where warm oranges and corals meet the deep blues of the sea and sky. This palette captures that perfect contrast between warm and cool tones. I find it creates a sense of adventure and wanderlust that’s ideal for travel brands or outdoor companies.
6. Urban Twilight

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As the sun sets behind city skylines, you get these incredible contrasts between deep purples and vibrant oranges. This sophisticated palette brings together the mystery of twilight with the warmth of the setting sun. It’s perfect for creating designs that feel both modern and dramatic.
7. Autumn Harvest

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This palette captures those perfect fall evenings when the sunset seems to echo the changing leaves. The deep oranges and golden yellows create a cozy, inviting feeling that’s perfect for seasonal campaigns or brands that want to evoke comfort and tradition.
8. Fire Sky

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Sometimes nature puts on a show that’s so intense it takes your breath away. This bold, fiery palette captures those dramatic sunsets that look like the sky is literally on fire. It’s not for the faint of heart, but when you need maximum impact and energy, these colors deliver in spades.
Why Sunset Colors Never Go Out of Style
Before we explore how to use these palettes effectively, let’s talk about why sunset colors have such enduring appeal in design. There’s something deeply ingrained in human psychology that responds to these warm, glowing hues. They remind us of endings and beginnings, of peaceful moments and natural beauty.
From a design perspective, sunset colors offer incredible versatility. They can be bold and energetic or soft and romantic. They work equally well for corporate branding and personal projects. And perhaps most importantly, they’re inherently optimistic – they make people feel good.
I’ve found that incorporating sunset-inspired colors into modern projects adds an instant sense of warmth and approachability that resonates with audiences across all demographics. Whether you’re working on packaging design, web interfaces, or environmental graphics, these palettes can help create an emotional connection that goes beyond mere aesthetics.
How to Master Sunset Palettes in Contemporary Design
Using sunset colors effectively requires more than just picking pretty hues and hoping for the best. Here are some strategies I’ve developed for incorporating these palettes into modern design work:
Start with Temperature Balance
One of the most important aspects of working with sunset palettes is understanding color temperature. Most sunset combinations naturally include both warm and cool elements – the warm oranges and yellows of the sun itself, balanced by the cooler purples and blues of the surrounding sky. Maintaining this temperature balance keeps your designs from feeling flat or monotonous.
Layer for Depth
Real sunsets have incredible depth and dimension, with colors layering and blending into each other. Try to recreate this in your designs by using gradients, overlays, or layered elements rather than flat blocks of color. This approach creates visual interest and mimics the natural way these colors appear in nature.
Consider Context and Contrast
While sunset colors are beautiful, they need to work within the context of your overall design. Pay attention to readability – text needs sufficient contrast against sunset backgrounds. Consider using neutrals like deep charcoal or cream to provide breathing room and ensure your message remains clear.
Embrace Gradual Transitions
The magic of a sunset lies in how colors flow seamlessly from one to another. Incorporate this principle into your designs through smooth gradients, subtle color shifts, or elements that bridge between different hues in your palette.
The Science Behind Our Sunset Obsession
As someone who’s spent years studying color psychology, I’m fascinated by why sunset colors have such universal appeal. Research suggests that warm colors like those found in sunsets trigger positive emotional responses and can even increase feelings of comfort and security.
There’s also the association factor – sunsets are linked in our minds with relaxation, beauty, and positive experiences. When we see these colors in design, we unconsciously associate them with those same positive feelings. This makes sunset palettes particularly effective for brands that want to create emotional connections with their audiences.
The cyclical nature of sunsets also plays a role. They happen every day, marking the transition from activity to rest, from work to leisure. This gives sunset colors a sense of familiarity and comfort that few other color combinations can match.
Applying Sunset Palettes Across Design Disciplines
One of the things I love most about sunset color palettes is how adaptable they are across different types of design work:
Brand Identity Design
Sunset colors can help brands convey warmth, optimism, and approachability. I’ve used variations of these palettes for everything from artisanal food companies to wellness brands. The key is choosing the right intensity level for your brand’s personality – softer palettes for more refined brands, bolder combinations for companies that want to make a statement.
Digital Design
In web and app design, sunset colors can create interfaces that feel warm and inviting rather than cold and clinical. I often use these palettes for backgrounds, accent elements, or call-to-action buttons. The natural flow between colors makes them perfect for creating smooth user experiences that guide the eye naturally through content.
Print and Packaging
Sunset palettes really shine in print applications where you can take advantage of rich, saturated colors. They work beautifully for packaging design, particularly for products associated with warmth, comfort, or natural ingredients. The key is ensuring your color reproduction is accurate – sunset colors can look muddy if not handled properly in print.
Environmental Design
In spaces, sunset colors can create incredibly welcoming environments. I’ve seen these palettes used effectively in restaurants, retail spaces, and even corporate offices where the goal is to create a sense of warmth and community.
Seasonal Considerations and Trending Applications
While sunset colors are timeless, they do have natural seasonal associations that smart designers can leverage. The warmer, more intense sunset palettes work beautifully for fall and winter campaigns, while the softer, more pastel variations are perfect for spring and summer applications.
I’ve noticed a growing trend toward using sunset palettes in unexpected contexts – tech companies embracing warm gradients, financial services using sunset colors to appear more approachable, and healthcare brands incorporating these hues to create more comforting environments.
Conclusion: Bringing Natural Beauty Into Modern Design
As we’ve explored these eight stunning sunset color palettes, I hope you’ve gained new appreciation for the incredible design potential that nature provides us every single day. These colors aren’t just beautiful – they’re powerful tools for creating emotional connections, conveying brand values, and making designs that truly resonate with people.
The secret to successfully using sunset palettes lies in understanding both their emotional impact and their technical requirements. Don’t be afraid to experiment with different combinations and intensities, but always keep your audience and context in mind.
Remember, the best sunset colors aren’t just about picking the prettiest hues – they’re about capturing the feeling of those magical moments when day transitions to night. Whether you’re creating a logo that needs to convey warmth and trust, designing a website that should feel welcoming and approachable, or developing packaging that needs to stand out on crowded shelves, these sunset-inspired palettes offer endless possibilities.
So the next time you catch yourself stopped in your tracks by a particularly stunning sunset, take a moment to really study those colors. Notice how they blend and flow, how they make you feel, and how they change as the light shifts. Then bring that natural magic into your next design project.
After all, if nature can create such breathtaking color combinations every single day, imagine what we can achieve when we learn from the master. Happy designing!

Zoe Santoro

Zoe is an art student and graphic designer with a passion for creativity and adventure. Whether she’s sketching in a cozy café or capturing inspiration from vibrant cityscapes, she finds beauty in every corner of the world. With a love for bold colors, clean design, and storytelling through visuals, Zoe blends her artistic skills with her wanderlust to create stunning, travel-inspired designs. Follow her journey as she explores new places, discovers fresh inspiration, and shares her creative process along the way.

10 Warm Color Palettes That’ll Brighten Your DayThere’s nothing quite like the embracing quality of warm colors to make a design feel inviting and alive. As someone...These 1920s Color Palettes are ‘Greater than Gatsby’There’s something undeniably captivating about the color schemes of the Roaring Twenties. As a designer with a passion for historical...How Fonts Influence Tone and Clarity in Animated VideosAudiences interact differently with messages based on which fonts designers choose to use within a text presentation. Fonts shape how...
#stunning #sunset #color #palettes

8 Stunning Sunset Color Palettes
8 Stunning Sunset Color Palettes Zoe Santoro • In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.There’s something absolutely magical about watching the sun dip below the horizon, painting the sky in breathtaking hues that seem almost too beautiful to be real. As a designer, I find myself constantly inspired by these natural masterpieces that unfold before us every evening. The way warm oranges melt into soft pinks, how deep purples blend seamlessly with golden yellows – it’s like nature’s own masterclass in color theory. If you’re looking to infuse your next project with the warmth, romance, and natural beauty of a perfect sunset, you’ve come to the right place. I’ve curated eight of the most captivating sunset color palettes that will bring that golden hour magic directly into your designs. 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just /mo? Learn more »The 8 Most Breathtaking Sunset Color Palettes 1. Golden Hour Glow #FFD700 #FF8C00 #FF6347 #CD5C5C Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper This palette captures that perfect moment when everything seems to be touched by liquid gold. The warm yellows transition beautifully into rich oranges and soft coral reds, creating a sense of warmth and optimism that’s impossible to ignore. I find this combination works wonderfully for brands that want to evoke feelings of happiness, energy, and positivity. 2. Tropical Paradise #FF69B4 #FF1493 #FF8C00 #FFD700 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Inspired by those incredible sunsets you see in tropical destinations, this vibrant palette combines hot pinks with brilliant oranges and golden yellows. It’s bold, it’s energetic, and it’s perfect for projects that need to make a statement. I love using these colors for summer campaigns or anything that needs to capture that vacation feeling. 3. Desert Dreams #CD853F #D2691E #B22222 #8B0000 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere. The American Southwest produces some of the most spectacular sunsets on earth, and this palette pays homage to those incredible desert skies. The earthy browns blend into warm oranges before deepening into rich reds and burgundies. This combination brings a sense of grounding and authenticity that works beautifully for rustic or heritage brands. 4. Pastel Evening #FFE4E1 #FFA07A #F0E68C #DDA0DD Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Not every sunset needs to be bold and dramatic. This softer palette captures those gentle, dreamy evenings when the sky looks like it’s been painted with watercolors. The delicate pinks, peaches, and lavenders create a romantic, ethereal feeling that’s perfect for wedding designs, beauty brands, or any project that needs a touch of feminine elegance. 5. Coastal Sunset #fae991 #FF7F50 #FF6347 #4169E1 #1E90FF Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper There’s something special about watching the sun set over the ocean, where warm oranges and corals meet the deep blues of the sea and sky. This palette captures that perfect contrast between warm and cool tones. I find it creates a sense of adventure and wanderlust that’s ideal for travel brands or outdoor companies. 6. Urban Twilight #ffeda3 #fdad52 #fc8a6e #575475 #111f2a Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper As the sun sets behind city skylines, you get these incredible contrasts between deep purples and vibrant oranges. This sophisticated palette brings together the mystery of twilight with the warmth of the setting sun. It’s perfect for creating designs that feel both modern and dramatic. 7. Autumn Harvest #FF4500 #FF8C00 #DAA520 #8B4513 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper This palette captures those perfect fall evenings when the sunset seems to echo the changing leaves. The deep oranges and golden yellows create a cozy, inviting feeling that’s perfect for seasonal campaigns or brands that want to evoke comfort and tradition. 8. Fire Sky #652220 #DC143C #FF0000 #FF4500 #FF8C00 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Sometimes nature puts on a show that’s so intense it takes your breath away. This bold, fiery palette captures those dramatic sunsets that look like the sky is literally on fire. It’s not for the faint of heart, but when you need maximum impact and energy, these colors deliver in spades. Why Sunset Colors Never Go Out of Style Before we explore how to use these palettes effectively, let’s talk about why sunset colors have such enduring appeal in design. There’s something deeply ingrained in human psychology that responds to these warm, glowing hues. They remind us of endings and beginnings, of peaceful moments and natural beauty. From a design perspective, sunset colors offer incredible versatility. They can be bold and energetic or soft and romantic. They work equally well for corporate branding and personal projects. And perhaps most importantly, they’re inherently optimistic – they make people feel good. I’ve found that incorporating sunset-inspired colors into modern projects adds an instant sense of warmth and approachability that resonates with audiences across all demographics. Whether you’re working on packaging design, web interfaces, or environmental graphics, these palettes can help create an emotional connection that goes beyond mere aesthetics. How to Master Sunset Palettes in Contemporary Design Using sunset colors effectively requires more than just picking pretty hues and hoping for the best. Here are some strategies I’ve developed for incorporating these palettes into modern design work: Start with Temperature Balance One of the most important aspects of working with sunset palettes is understanding color temperature. Most sunset combinations naturally include both warm and cool elements – the warm oranges and yellows of the sun itself, balanced by the cooler purples and blues of the surrounding sky. Maintaining this temperature balance keeps your designs from feeling flat or monotonous. Layer for Depth Real sunsets have incredible depth and dimension, with colors layering and blending into each other. Try to recreate this in your designs by using gradients, overlays, or layered elements rather than flat blocks of color. This approach creates visual interest and mimics the natural way these colors appear in nature. Consider Context and Contrast While sunset colors are beautiful, they need to work within the context of your overall design. Pay attention to readability – text needs sufficient contrast against sunset backgrounds. Consider using neutrals like deep charcoal or cream to provide breathing room and ensure your message remains clear. Embrace Gradual Transitions The magic of a sunset lies in how colors flow seamlessly from one to another. Incorporate this principle into your designs through smooth gradients, subtle color shifts, or elements that bridge between different hues in your palette. The Science Behind Our Sunset Obsession As someone who’s spent years studying color psychology, I’m fascinated by why sunset colors have such universal appeal. Research suggests that warm colors like those found in sunsets trigger positive emotional responses and can even increase feelings of comfort and security. There’s also the association factor – sunsets are linked in our minds with relaxation, beauty, and positive experiences. When we see these colors in design, we unconsciously associate them with those same positive feelings. This makes sunset palettes particularly effective for brands that want to create emotional connections with their audiences. The cyclical nature of sunsets also plays a role. They happen every day, marking the transition from activity to rest, from work to leisure. This gives sunset colors a sense of familiarity and comfort that few other color combinations can match. Applying Sunset Palettes Across Design Disciplines One of the things I love most about sunset color palettes is how adaptable they are across different types of design work: Brand Identity Design Sunset colors can help brands convey warmth, optimism, and approachability. I’ve used variations of these palettes for everything from artisanal food companies to wellness brands. The key is choosing the right intensity level for your brand’s personality – softer palettes for more refined brands, bolder combinations for companies that want to make a statement. Digital Design In web and app design, sunset colors can create interfaces that feel warm and inviting rather than cold and clinical. I often use these palettes for backgrounds, accent elements, or call-to-action buttons. The natural flow between colors makes them perfect for creating smooth user experiences that guide the eye naturally through content. Print and Packaging Sunset palettes really shine in print applications where you can take advantage of rich, saturated colors. They work beautifully for packaging design, particularly for products associated with warmth, comfort, or natural ingredients. The key is ensuring your color reproduction is accurate – sunset colors can look muddy if not handled properly in print. Environmental Design In spaces, sunset colors can create incredibly welcoming environments. I’ve seen these palettes used effectively in restaurants, retail spaces, and even corporate offices where the goal is to create a sense of warmth and community. Seasonal Considerations and Trending Applications While sunset colors are timeless, they do have natural seasonal associations that smart designers can leverage. The warmer, more intense sunset palettes work beautifully for fall and winter campaigns, while the softer, more pastel variations are perfect for spring and summer applications. I’ve noticed a growing trend toward using sunset palettes in unexpected contexts – tech companies embracing warm gradients, financial services using sunset colors to appear more approachable, and healthcare brands incorporating these hues to create more comforting environments. Conclusion: Bringing Natural Beauty Into Modern Design As we’ve explored these eight stunning sunset color palettes, I hope you’ve gained new appreciation for the incredible design potential that nature provides us every single day. These colors aren’t just beautiful – they’re powerful tools for creating emotional connections, conveying brand values, and making designs that truly resonate with people. The secret to successfully using sunset palettes lies in understanding both their emotional impact and their technical requirements. Don’t be afraid to experiment with different combinations and intensities, but always keep your audience and context in mind. Remember, the best sunset colors aren’t just about picking the prettiest hues – they’re about capturing the feeling of those magical moments when day transitions to night. Whether you’re creating a logo that needs to convey warmth and trust, designing a website that should feel welcoming and approachable, or developing packaging that needs to stand out on crowded shelves, these sunset-inspired palettes offer endless possibilities. So the next time you catch yourself stopped in your tracks by a particularly stunning sunset, take a moment to really study those colors. Notice how they blend and flow, how they make you feel, and how they change as the light shifts. Then bring that natural magic into your next design project. After all, if nature can create such breathtaking color combinations every single day, imagine what we can achieve when we learn from the master. Happy designing! Zoe Santoro Zoe is an art student and graphic designer with a passion for creativity and adventure. Whether she’s sketching in a cozy café or capturing inspiration from vibrant cityscapes, she finds beauty in every corner of the world. With a love for bold colors, clean design, and storytelling through visuals, Zoe blends her artistic skills with her wanderlust to create stunning, travel-inspired designs. Follow her journey as she explores new places, discovers fresh inspiration, and shares her creative process along the way. 10 Warm Color Palettes That’ll Brighten Your DayThere’s nothing quite like the embracing quality of warm colors to make a design feel inviting and alive. As someone...These 1920s Color Palettes are ‘Greater than Gatsby’There’s something undeniably captivating about the color schemes of the Roaring Twenties. As a designer with a passion for historical...How Fonts Influence Tone and Clarity in Animated VideosAudiences interact differently with messages based on which fonts designers choose to use within a text presentation. Fonts shape how... #stunning #sunset #color #palettes

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8 Stunning Sunset Color Palettes

8 Stunning Sunset Color Palettes Zoe Santoro • In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.There’s something absolutely magical about watching the sun dip below the horizon, painting the sky in breathtaking hues that seem almost too beautiful to be real. As a designer, I find myself constantly inspired by these natural masterpieces that unfold before us every evening. The way warm oranges melt into soft pinks, how deep purples blend seamlessly with golden yellows – it’s like nature’s own masterclass in color theory. If you’re looking to infuse your next project with the warmth, romance, and natural beauty of a perfect sunset, you’ve come to the right place. I’ve curated eight of the most captivating sunset color palettes that will bring that golden hour magic directly into your designs. 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just $16.95/mo? Learn more »The 8 Most Breathtaking Sunset Color Palettes 1. Golden Hour Glow #FFD700 #FF8C00 #FF6347 #CD5C5C Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper This palette captures that perfect moment when everything seems to be touched by liquid gold. The warm yellows transition beautifully into rich oranges and soft coral reds, creating a sense of warmth and optimism that’s impossible to ignore. I find this combination works wonderfully for brands that want to evoke feelings of happiness, energy, and positivity. 2. Tropical Paradise #FF69B4 #FF1493 #FF8C00 #FFD700 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Inspired by those incredible sunsets you see in tropical destinations, this vibrant palette combines hot pinks with brilliant oranges and golden yellows. It’s bold, it’s energetic, and it’s perfect for projects that need to make a statement. I love using these colors for summer campaigns or anything that needs to capture that vacation feeling. 3. Desert Dreams #CD853F #D2691E #B22222 #8B0000 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere. The American Southwest produces some of the most spectacular sunsets on earth, and this palette pays homage to those incredible desert skies. The earthy browns blend into warm oranges before deepening into rich reds and burgundies. This combination brings a sense of grounding and authenticity that works beautifully for rustic or heritage brands. 4. Pastel Evening #FFE4E1 #FFA07A #F0E68C #DDA0DD Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Not every sunset needs to be bold and dramatic. This softer palette captures those gentle, dreamy evenings when the sky looks like it’s been painted with watercolors. The delicate pinks, peaches, and lavenders create a romantic, ethereal feeling that’s perfect for wedding designs, beauty brands, or any project that needs a touch of feminine elegance. 5. Coastal Sunset #fae991 #FF7F50 #FF6347 #4169E1 #1E90FF Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper There’s something special about watching the sun set over the ocean, where warm oranges and corals meet the deep blues of the sea and sky. This palette captures that perfect contrast between warm and cool tones. I find it creates a sense of adventure and wanderlust that’s ideal for travel brands or outdoor companies. 6. Urban Twilight #ffeda3 #fdad52 #fc8a6e #575475 #111f2a Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper As the sun sets behind city skylines, you get these incredible contrasts between deep purples and vibrant oranges. This sophisticated palette brings together the mystery of twilight with the warmth of the setting sun. It’s perfect for creating designs that feel both modern and dramatic. 7. Autumn Harvest #FF4500 #FF8C00 #DAA520 #8B4513 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper This palette captures those perfect fall evenings when the sunset seems to echo the changing leaves. The deep oranges and golden yellows create a cozy, inviting feeling that’s perfect for seasonal campaigns or brands that want to evoke comfort and tradition. 8. Fire Sky #652220 #DC143C #FF0000 #FF4500 #FF8C00 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Sometimes nature puts on a show that’s so intense it takes your breath away. This bold, fiery palette captures those dramatic sunsets that look like the sky is literally on fire. It’s not for the faint of heart, but when you need maximum impact and energy, these colors deliver in spades. Why Sunset Colors Never Go Out of Style Before we explore how to use these palettes effectively, let’s talk about why sunset colors have such enduring appeal in design. There’s something deeply ingrained in human psychology that responds to these warm, glowing hues. They remind us of endings and beginnings, of peaceful moments and natural beauty. From a design perspective, sunset colors offer incredible versatility. They can be bold and energetic or soft and romantic. They work equally well for corporate branding and personal projects. And perhaps most importantly, they’re inherently optimistic – they make people feel good. I’ve found that incorporating sunset-inspired colors into modern projects adds an instant sense of warmth and approachability that resonates with audiences across all demographics. Whether you’re working on packaging design, web interfaces, or environmental graphics, these palettes can help create an emotional connection that goes beyond mere aesthetics. How to Master Sunset Palettes in Contemporary Design Using sunset colors effectively requires more than just picking pretty hues and hoping for the best. Here are some strategies I’ve developed for incorporating these palettes into modern design work: Start with Temperature Balance One of the most important aspects of working with sunset palettes is understanding color temperature. Most sunset combinations naturally include both warm and cool elements – the warm oranges and yellows of the sun itself, balanced by the cooler purples and blues of the surrounding sky. Maintaining this temperature balance keeps your designs from feeling flat or monotonous. Layer for Depth Real sunsets have incredible depth and dimension, with colors layering and blending into each other. Try to recreate this in your designs by using gradients, overlays, or layered elements rather than flat blocks of color. This approach creates visual interest and mimics the natural way these colors appear in nature. Consider Context and Contrast While sunset colors are beautiful, they need to work within the context of your overall design. Pay attention to readability – text needs sufficient contrast against sunset backgrounds. Consider using neutrals like deep charcoal or cream to provide breathing room and ensure your message remains clear. Embrace Gradual Transitions The magic of a sunset lies in how colors flow seamlessly from one to another. Incorporate this principle into your designs through smooth gradients, subtle color shifts, or elements that bridge between different hues in your palette. The Science Behind Our Sunset Obsession As someone who’s spent years studying color psychology, I’m fascinated by why sunset colors have such universal appeal. Research suggests that warm colors like those found in sunsets trigger positive emotional responses and can even increase feelings of comfort and security. There’s also the association factor – sunsets are linked in our minds with relaxation, beauty, and positive experiences. When we see these colors in design, we unconsciously associate them with those same positive feelings. This makes sunset palettes particularly effective for brands that want to create emotional connections with their audiences. The cyclical nature of sunsets also plays a role. They happen every day, marking the transition from activity to rest, from work to leisure. This gives sunset colors a sense of familiarity and comfort that few other color combinations can match. Applying Sunset Palettes Across Design Disciplines One of the things I love most about sunset color palettes is how adaptable they are across different types of design work: Brand Identity Design Sunset colors can help brands convey warmth, optimism, and approachability. I’ve used variations of these palettes for everything from artisanal food companies to wellness brands. The key is choosing the right intensity level for your brand’s personality – softer palettes for more refined brands, bolder combinations for companies that want to make a statement. Digital Design In web and app design, sunset colors can create interfaces that feel warm and inviting rather than cold and clinical. I often use these palettes for backgrounds, accent elements, or call-to-action buttons. The natural flow between colors makes them perfect for creating smooth user experiences that guide the eye naturally through content. Print and Packaging Sunset palettes really shine in print applications where you can take advantage of rich, saturated colors. They work beautifully for packaging design, particularly for products associated with warmth, comfort, or natural ingredients. The key is ensuring your color reproduction is accurate – sunset colors can look muddy if not handled properly in print. Environmental Design In spaces, sunset colors can create incredibly welcoming environments. I’ve seen these palettes used effectively in restaurants, retail spaces, and even corporate offices where the goal is to create a sense of warmth and community. Seasonal Considerations and Trending Applications While sunset colors are timeless, they do have natural seasonal associations that smart designers can leverage. The warmer, more intense sunset palettes work beautifully for fall and winter campaigns, while the softer, more pastel variations are perfect for spring and summer applications. I’ve noticed a growing trend toward using sunset palettes in unexpected contexts – tech companies embracing warm gradients, financial services using sunset colors to appear more approachable, and healthcare brands incorporating these hues to create more comforting environments. Conclusion: Bringing Natural Beauty Into Modern Design As we’ve explored these eight stunning sunset color palettes, I hope you’ve gained new appreciation for the incredible design potential that nature provides us every single day. These colors aren’t just beautiful – they’re powerful tools for creating emotional connections, conveying brand values, and making designs that truly resonate with people. The secret to successfully using sunset palettes lies in understanding both their emotional impact and their technical requirements. Don’t be afraid to experiment with different combinations and intensities, but always keep your audience and context in mind. Remember, the best sunset colors aren’t just about picking the prettiest hues – they’re about capturing the feeling of those magical moments when day transitions to night. Whether you’re creating a logo that needs to convey warmth and trust, designing a website that should feel welcoming and approachable, or developing packaging that needs to stand out on crowded shelves, these sunset-inspired palettes offer endless possibilities. So the next time you catch yourself stopped in your tracks by a particularly stunning sunset, take a moment to really study those colors. Notice how they blend and flow, how they make you feel, and how they change as the light shifts. Then bring that natural magic into your next design project. After all, if nature can create such breathtaking color combinations every single day, imagine what we can achieve when we learn from the master. Happy designing! Zoe Santoro Zoe is an art student and graphic designer with a passion for creativity and adventure. Whether she’s sketching in a cozy café or capturing inspiration from vibrant cityscapes, she finds beauty in every corner of the world. With a love for bold colors, clean design, and storytelling through visuals, Zoe blends her artistic skills with her wanderlust to create stunning, travel-inspired designs. Follow her journey as she explores new places, discovers fresh inspiration, and shares her creative process along the way. 10 Warm Color Palettes That’ll Brighten Your DayThere’s nothing quite like the embracing quality of warm colors to make a design feel inviting and alive. As someone...These 1920s Color Palettes are ‘Greater than Gatsby’There’s something undeniably captivating about the color schemes of the Roaring Twenties. As a designer with a passion for historical...How Fonts Influence Tone and Clarity in Animated VideosAudiences interact differently with messages based on which fonts designers choose to use within a text presentation. Fonts shape how...

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Slashdot RT hat einen Link geteilt

2025-06-15 07:29:43 ·

Python Creator Guido van Rossum Asks: Is 'Worse is Better' Still True for Programming Languages?

In 1989 a computer scientist argued that more functionality in software actually lowers usability and practicality — leading to the counterintuitive proposition that "worse is better". But is that still true?

Python's original creator Guido van Rossum addressed the question last month in a lightning talk at the annual Python Language Summit 2025.

Guido started by recounting earlier periods of Python development from 35 years ago, where he used UNIX "almost exclusively" and thus "Python was greatly influenced by UNIX's 'worse is better' philosophy"... "The fact thatwasn't perfect encouraged many people to start contributing. All of the code was straightforward, there were no thoughts of optimization... These early contributors also now had a stake in the language;was also their baby"...

Guido contrasted early development to how Python is developed now: "features that take years to produce from teams of software developers paid by big tech companies. The static type system requires an academic-level understanding of esoteric type system features." And this isn't just Python the language, "third-party projects like numpy are maintained by folks who are paid full-time to do so.... Now we have a huge community, but very few people, relatively speaking, are contributing meaningfully."
Guido asked whether the expectation for Python contributors going forward would be that "you had to write a perfect PEP or create a perfect prototype that can be turned into production-ready code?" Guido pined for the "old days" where feature development could skip performance or feature-completion to get something into the hands of the community to "start kicking the tires". "Do we have to abandon 'worse is better' as a philosophy and try to make everything as perfect as possible?" Guido thought doing so "would be a shame", but that he "wasn't sure how to change it", acknowledging that core developers wouldn't want to create features and then break users with future releases.
Guido referenced David Hewitt's PyO3 talk about Rust and Python, and that development "was using worse is better," where there is a core feature set that works, and plenty of work to be done and open questions. "That sounds a lot more fun than working on core CPython", Guido paused, "...not that I'd ever personally learn Rust. Maybe I should give it a try after," which garnered laughter from core developers.

"Maybe we should do more of that: allowing contributors in the community to have a stake and care".

of this story at Slashdot.
#python #creator #guido #van #rossum

Python Creator Guido van Rossum Asks: Is 'Worse is Better' Still True for Programming Languages?
In 1989 a computer scientist argued that more functionality in software actually lowers usability and practicality — leading to the counterintuitive proposition that "worse is better". But is that still true? Python's original creator Guido van Rossum addressed the question last month in a lightning talk at the annual Python Language Summit 2025. Guido started by recounting earlier periods of Python development from 35 years ago, where he used UNIX "almost exclusively" and thus "Python was greatly influenced by UNIX's 'worse is better' philosophy"... "The fact thatwasn't perfect encouraged many people to start contributing. All of the code was straightforward, there were no thoughts of optimization... These early contributors also now had a stake in the language;was also their baby"... Guido contrasted early development to how Python is developed now: "features that take years to produce from teams of software developers paid by big tech companies. The static type system requires an academic-level understanding of esoteric type system features." And this isn't just Python the language, "third-party projects like numpy are maintained by folks who are paid full-time to do so.... Now we have a huge community, but very few people, relatively speaking, are contributing meaningfully." Guido asked whether the expectation for Python contributors going forward would be that "you had to write a perfect PEP or create a perfect prototype that can be turned into production-ready code?" Guido pined for the "old days" where feature development could skip performance or feature-completion to get something into the hands of the community to "start kicking the tires". "Do we have to abandon 'worse is better' as a philosophy and try to make everything as perfect as possible?" Guido thought doing so "would be a shame", but that he "wasn't sure how to change it", acknowledging that core developers wouldn't want to create features and then break users with future releases. Guido referenced David Hewitt's PyO3 talk about Rust and Python, and that development "was using worse is better," where there is a core feature set that works, and plenty of work to be done and open questions. "That sounds a lot more fun than working on core CPython", Guido paused, "...not that I'd ever personally learn Rust. Maybe I should give it a try after," which garnered laughter from core developers. "Maybe we should do more of that: allowing contributors in the community to have a stake and care". of this story at Slashdot. #python #creator #guido #van #rossum

DEVELOPERS.SLASHDOT.ORG

Python Creator Guido van Rossum Asks: Is 'Worse is Better' Still True for Programming Languages?

In 1989 a computer scientist argued that more functionality in software actually lowers usability and practicality — leading to the counterintuitive proposition that "worse is better". But is that still true? Python's original creator Guido van Rossum addressed the question last month in a lightning talk at the annual Python Language Summit 2025. Guido started by recounting earlier periods of Python development from 35 years ago, where he used UNIX "almost exclusively" and thus "Python was greatly influenced by UNIX's 'worse is better' philosophy"... "The fact that [Python] wasn't perfect encouraged many people to start contributing. All of the code was straightforward, there were no thoughts of optimization... These early contributors also now had a stake in the language; [Python] was also their baby"... Guido contrasted early development to how Python is developed now: "features that take years to produce from teams of software developers paid by big tech companies. The static type system requires an academic-level understanding of esoteric type system features." And this isn't just Python the language, "third-party projects like numpy are maintained by folks who are paid full-time to do so.... Now we have a huge community, but very few people, relatively speaking, are contributing meaningfully." Guido asked whether the expectation for Python contributors going forward would be that "you had to write a perfect PEP or create a perfect prototype that can be turned into production-ready code?" Guido pined for the "old days" where feature development could skip performance or feature-completion to get something into the hands of the community to "start kicking the tires". "Do we have to abandon 'worse is better' as a philosophy and try to make everything as perfect as possible?" Guido thought doing so "would be a shame", but that he "wasn't sure how to change it", acknowledging that core developers wouldn't want to create features and then break users with future releases. Guido referenced David Hewitt's PyO3 talk about Rust and Python, and that development "was using worse is better," where there is a core feature set that works, and plenty of work to be done and open questions. "That sounds a lot more fun than working on core CPython", Guido paused, "...not that I'd ever personally learn Rust. Maybe I should give it a try after," which garnered laughter from core developers. "Maybe we should do more of that: allowing contributors in the community to have a stake and care". Read more of this story at Slashdot.

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2025-06-15 07:29:39 ·

Microsoft accidentally replaced Windows 11 startup sound with one from Vista

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Microsoft accidentally replaced Windows 11 startup sound with one from Vista

Taras Buria

Neowin
@TarasBuria ·

Jun 14, 2025 14:46 EDT

The recently released Windows 11 Dev and Beta builds introduced some welcome changes and improvements. However, those preview builds are not flawless and have a pretty long list of known issues. One of those issues, though, is a rather delightful one: Windows 11's default startup jingle has been accidentally replaced with one from 2006.
After Windows Insiders discovered that Windows 11 now plays the Windows Vista startup sound and reported it to Microsoft, the company acknowledged it and added it to the list of known bugs in the latest Windows 11 Dev and Beta builds:

This week’s flight comes with a delightful blast from the past and will play the Windows Vista boot sound instead of the Windows 11 boot sound. We’re working on a fix.

Although Windows Vista is nearly two decades old, it was brought to everyone's attention this week after Apple introduced macOS 26 Tahoe with its controversial "Liquid Glass" redesign, which many consider a rather miserable remix of Windows Aero from Windows Vista and Windows 7.
While it is definitely an interesting coincidence, Microsoft did not intentionally replace the startup sound in Windows 11 preview builds. Brandon LeBlanc from the Windows Insider team confirmed in his X that that is a bug after joking about everyone talking about Windows Vista once again in light of Apple's latest announcements:

It is worth noting that if you miss the startup sound of Windows Vista, you can still use it in modern Windows versions. All it takes is the original WAV file and a few clicks in the Windows Registry and Sound settings. And for those who want a shot of nostalgia, here is the sound of Windows Vista startup:

What startup jingle do you like more: Windows Vista or Windows 11? Share your thoughts in the comments.

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Microsoft accidentally replaced Windows 11 startup sound with one from Vista
When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works. Microsoft accidentally replaced Windows 11 startup sound with one from Vista Taras Buria Neowin @TarasBuria · Jun 14, 2025 14:46 EDT The recently released Windows 11 Dev and Beta builds introduced some welcome changes and improvements. However, those preview builds are not flawless and have a pretty long list of known issues. One of those issues, though, is a rather delightful one: Windows 11's default startup jingle has been accidentally replaced with one from 2006. After Windows Insiders discovered that Windows 11 now plays the Windows Vista startup sound and reported it to Microsoft, the company acknowledged it and added it to the list of known bugs in the latest Windows 11 Dev and Beta builds: This week’s flight comes with a delightful blast from the past and will play the Windows Vista boot sound instead of the Windows 11 boot sound. We’re working on a fix. Although Windows Vista is nearly two decades old, it was brought to everyone's attention this week after Apple introduced macOS 26 Tahoe with its controversial "Liquid Glass" redesign, which many consider a rather miserable remix of Windows Aero from Windows Vista and Windows 7. While it is definitely an interesting coincidence, Microsoft did not intentionally replace the startup sound in Windows 11 preview builds. Brandon LeBlanc from the Windows Insider team confirmed in his X that that is a bug after joking about everyone talking about Windows Vista once again in light of Apple's latest announcements: It is worth noting that if you miss the startup sound of Windows Vista, you can still use it in modern Windows versions. All it takes is the original WAV file and a few clicks in the Windows Registry and Sound settings. And for those who want a shot of nostalgia, here is the sound of Windows Vista startup: What startup jingle do you like more: Windows Vista or Windows 11? Share your thoughts in the comments. Tags Report a problem with article Follow @NeowinFeed #microsoft #accidentally #replaced #windows #startup

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Microsoft accidentally replaced Windows 11 startup sound with one from Vista

When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works. Microsoft accidentally replaced Windows 11 startup sound with one from Vista Taras Buria Neowin @TarasBuria · Jun 14, 2025 14:46 EDT The recently released Windows 11 Dev and Beta builds introduced some welcome changes and improvements. However, those preview builds are not flawless and have a pretty long list of known issues. One of those issues, though, is a rather delightful one: Windows 11's default startup jingle has been accidentally replaced with one from 2006. After Windows Insiders discovered that Windows 11 now plays the Windows Vista startup sound and reported it to Microsoft, the company acknowledged it and added it to the list of known bugs in the latest Windows 11 Dev and Beta builds: This week’s flight comes with a delightful blast from the past and will play the Windows Vista boot sound instead of the Windows 11 boot sound. We’re working on a fix. Although Windows Vista is nearly two decades old, it was brought to everyone's attention this week after Apple introduced macOS 26 Tahoe with its controversial "Liquid Glass" redesign, which many consider a rather miserable remix of Windows Aero from Windows Vista and Windows 7. While it is definitely an interesting coincidence, Microsoft did not intentionally replace the startup sound in Windows 11 preview builds. Brandon LeBlanc from the Windows Insider team confirmed in his X that that is a bug after joking about everyone talking about Windows Vista once again in light of Apple's latest announcements: It is worth noting that if you miss the startup sound of Windows Vista, you can still use it in modern Windows versions. All it takes is the original WAV file and a few clicks in the Windows Registry and Sound settings. And for those who want a shot of nostalgia, here is the sound of Windows Vista startup: What startup jingle do you like more: Windows Vista or Windows 11? Share your thoughts in the comments. Tags Report a problem with article Follow @NeowinFeed

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GamersNexus RT hat einen Link geteilt

2025-06-15 07:29:32 ·

6 Years to Make a Fan, G370A Budget Case, & Phanteks Technical Fan Discussion, ft. CTO

Cases News 6 Years to Make a Fan, G370A Budget Case, & Phanteks Technical Fan Discussion, ft. CTOJune 9, 2025Last Updated: 2025-06-09We cover Phanteks’ new G370A budget case, the XT M3, and the Evolv X2 MatrixThe HighlightsPhanteks’ new X2 Matrix case has 900 LEDs and is aiming to be around Phanteks’ G370A is a case that includes 3x120mm fansThe company has a new T30-140 fan that required 6 years of engineering to makeTable of ContentsAutoTOC Grab a GN Tear-Down Toolkit to support our AD-FREE reviews and IN-DEPTH testing while also getting a high-quality, highly portable 10-piece toolkit that was custom designed for use with video cards for repasting and water block installation. Includes a portable roll bag, hook hangers for pegboards, a storage compartment, and instructional GPU disassembly cards.IntroWe visited Phanteks’ suite at Computex 2025 and the company showed off several cases along with a fan that took the company roughly 6 years to make.Editor's note: This was originally published on May 21, 2025 as a video. This content has been adapted to written format for this article and is unchanged from the original publication.CreditsHostSteve BurkeCamera, Video EditingMike GaglioneVitalii MakhnovetsWriting, Web EditingJimmy ThangPhanteks Matrix CasesWe’ve talked about Phanteks’ X2 case in the past but the company was showing off its new Matrix version, which has matrix LEDs. The X2 Matrix has 900 LEDs in a 10x90 layout. It’s supposed to be about to more expensive than the base X2, which means it should end up around   The interesting thing about the case is that the LEDs wrap around the chassis. In terms of communication, the LEDs connect to the motherboard via USB 2.0 and use SATA for power. This allows Phanteks to bypass a WinRing 0 type situation. Another Matrix case had 600 of them in a 10x60 LED configuration and is supposed to be about Phanteks also has software that allows you to reconfigure what the LEDs display. When we got to the company’s suite, it had been programmed to say, “Gamers Nexus here,” which was cool to see. We also saw that the LEDs can also be used to highlight CPU temperature. Phanteks G370A Grab a GN15 Large Anti-Static Modmat to celebrate our 15th Anniversary and for a high-quality PC building work surface. The Modmat features useful PC building diagrams and is anti-static conductive. Purchases directly fund our work!Phanteks also showed off its G370A case, which is a case that includes 3x120mm fans in the front coupled with a mesh front that offers 38% hole porosity. The company tells us that manufacturing typically offers around 25% porosity.  It has a glass side panel and the back side panel of the case is just steel and has no ventilation. Taking a look at the placement of the front fans, we asked Phanteks why they weren’t higher on the case so the bottom fan could get more exposure to the bottom power supply shroud area and the answer the company gave us was simply clearance for a 360mm radiator at the top. There’s not a lot of room for the air coming into the shroud. Some of it will go through the cable pass-through if it’s empty. The back of the case features a drive mount.XTM3The company also showed off a Micro ATX case called the XTM3. It comes with 3 fans and is For its front panel, it has a unique punch out for its fans. The top panel is part standard ventilation but it does have one side that provides less airflow, which covers where the PSU would exhaust out of. The side panel does have punch-outs for the PSU, however. We don’t test power supplies, though that may change in the future. Power supplies can take a lot of thermal abuse, however, so we’re not super concerned here.  The case should be shipping in the next month or so and is 39.5 liters, which includes the feet. We appreciate that as not a lot of companies will factor that in. There’s also a lot of cable management depth on the back and the case also supports BTF. In addition, there’s a panel that clamps down all of the power supply cables. T30 FanPhanteks’ T30 fan took the company 6 years to make and is a 140mm fan. The company is competing with Noctua in the high-end fan space, but is going for a grey theme instead of brown. Phanteks CTO Tenzin Rongen Interview Visit our Patreon page to contribute a few dollars toward this website's operationAdditionally, when you purchase through links to retailers on our site, we may earn a small affiliate commission.Finally, we interviewed Phanteks CTO Tenzin Rongen to discuss technical details behind the company’s long-developed fans. Make sure to check it out in our video.
#years #make #fan #g370a #budget

6 Years to Make a Fan, G370A Budget Case, & Phanteks Technical Fan Discussion, ft. CTO
Cases News 6 Years to Make a Fan, G370A Budget Case, & Phanteks Technical Fan Discussion, ft. CTOJune 9, 2025Last Updated: 2025-06-09We cover Phanteks’ new G370A budget case, the XT M3, and the Evolv X2 MatrixThe HighlightsPhanteks’ new X2 Matrix case has 900 LEDs and is aiming to be around Phanteks’ G370A is a case that includes 3x120mm fansThe company has a new T30-140 fan that required 6 years of engineering to makeTable of ContentsAutoTOC Grab a GN Tear-Down Toolkit to support our AD-FREE reviews and IN-DEPTH testing while also getting a high-quality, highly portable 10-piece toolkit that was custom designed for use with video cards for repasting and water block installation. Includes a portable roll bag, hook hangers for pegboards, a storage compartment, and instructional GPU disassembly cards.IntroWe visited Phanteks’ suite at Computex 2025 and the company showed off several cases along with a fan that took the company roughly 6 years to make.Editor's note: This was originally published on May 21, 2025 as a video. This content has been adapted to written format for this article and is unchanged from the original publication.CreditsHostSteve BurkeCamera, Video EditingMike GaglioneVitalii MakhnovetsWriting, Web EditingJimmy ThangPhanteks Matrix CasesWe’ve talked about Phanteks’ X2 case in the past but the company was showing off its new Matrix version, which has matrix LEDs. The X2 Matrix has 900 LEDs in a 10x90 layout. It’s supposed to be about to more expensive than the base X2, which means it should end up around   The interesting thing about the case is that the LEDs wrap around the chassis. In terms of communication, the LEDs connect to the motherboard via USB 2.0 and use SATA for power. This allows Phanteks to bypass a WinRing 0 type situation. Another Matrix case had 600 of them in a 10x60 LED configuration and is supposed to be about Phanteks also has software that allows you to reconfigure what the LEDs display. When we got to the company’s suite, it had been programmed to say, “Gamers Nexus here,” which was cool to see. We also saw that the LEDs can also be used to highlight CPU temperature. Phanteks G370A Grab a GN15 Large Anti-Static Modmat to celebrate our 15th Anniversary and for a high-quality PC building work surface. The Modmat features useful PC building diagrams and is anti-static conductive. Purchases directly fund our work!Phanteks also showed off its G370A case, which is a case that includes 3x120mm fans in the front coupled with a mesh front that offers 38% hole porosity. The company tells us that manufacturing typically offers around 25% porosity.  It has a glass side panel and the back side panel of the case is just steel and has no ventilation. Taking a look at the placement of the front fans, we asked Phanteks why they weren’t higher on the case so the bottom fan could get more exposure to the bottom power supply shroud area and the answer the company gave us was simply clearance for a 360mm radiator at the top. There’s not a lot of room for the air coming into the shroud. Some of it will go through the cable pass-through if it’s empty. The back of the case features a drive mount.XTM3The company also showed off a Micro ATX case called the XTM3. It comes with 3 fans and is For its front panel, it has a unique punch out for its fans. The top panel is part standard ventilation but it does have one side that provides less airflow, which covers where the PSU would exhaust out of. The side panel does have punch-outs for the PSU, however. We don’t test power supplies, though that may change in the future. Power supplies can take a lot of thermal abuse, however, so we’re not super concerned here.  The case should be shipping in the next month or so and is 39.5 liters, which includes the feet. We appreciate that as not a lot of companies will factor that in. There’s also a lot of cable management depth on the back and the case also supports BTF. In addition, there’s a panel that clamps down all of the power supply cables. T30 FanPhanteks’ T30 fan took the company 6 years to make and is a 140mm fan. The company is competing with Noctua in the high-end fan space, but is going for a grey theme instead of brown. Phanteks CTO Tenzin Rongen Interview Visit our Patreon page to contribute a few dollars toward this website's operationAdditionally, when you purchase through links to retailers on our site, we may earn a small affiliate commission.Finally, we interviewed Phanteks CTO Tenzin Rongen to discuss technical details behind the company’s long-developed fans. Make sure to check it out in our video. #years #make #fan #g370a #budget

GAMERSNEXUS.NET

6 Years to Make a Fan, G370A Budget Case, & Phanteks Technical Fan Discussion, ft. CTO

Cases News 6 Years to Make a Fan, G370A Budget Case, & Phanteks Technical Fan Discussion, ft. CTOJune 9, 2025Last Updated: 2025-06-09We cover Phanteks’ new G370A budget case, the XT M3, and the Evolv X2 MatrixThe HighlightsPhanteks’ new X2 Matrix case has 900 LEDs and is aiming to be around $200Phanteks’ G370A is a $60 case that includes 3x120mm fansThe company has a new T30-140 fan that required 6 years of engineering to makeTable of ContentsAutoTOC Grab a GN Tear-Down Toolkit to support our AD-FREE reviews and IN-DEPTH testing while also getting a high-quality, highly portable 10-piece toolkit that was custom designed for use with video cards for repasting and water block installation. Includes a portable roll bag, hook hangers for pegboards, a storage compartment, and instructional GPU disassembly cards.IntroWe visited Phanteks’ suite at Computex 2025 and the company showed off several cases along with a fan that took the company roughly 6 years to make.Editor's note: This was originally published on May 21, 2025 as a video. This content has been adapted to written format for this article and is unchanged from the original publication.CreditsHostSteve BurkeCamera, Video EditingMike GaglioneVitalii MakhnovetsWriting, Web EditingJimmy ThangPhanteks Matrix CasesWe’ve talked about Phanteks’ X2 case in the past but the company was showing off its new Matrix version, which has matrix LEDs. The X2 Matrix has 900 LEDs in a 10x90 layout. It’s supposed to be about $30 to $40 more expensive than the base X2, which means it should end up around $200.  The interesting thing about the case is that the LEDs wrap around the chassis. In terms of communication, the LEDs connect to the motherboard via USB 2.0 and use SATA for power. This allows Phanteks to bypass a WinRing 0 type situation. Another Matrix case had 600 of them in a 10x60 LED configuration and is supposed to be about $120. Phanteks also has software that allows you to reconfigure what the LEDs display. When we got to the company’s suite, it had been programmed to say, “Gamers Nexus here,” which was cool to see. We also saw that the LEDs can also be used to highlight CPU temperature. Phanteks G370A Grab a GN15 Large Anti-Static Modmat to celebrate our 15th Anniversary and for a high-quality PC building work surface. The Modmat features useful PC building diagrams and is anti-static conductive. Purchases directly fund our work! (or consider a direct donation or a Patreon contribution!)Phanteks also showed off its G370A case, which is a $60 case that includes 3x120mm fans in the front coupled with a mesh front that offers 38% hole porosity. The company tells us that manufacturing typically offers around 25% porosity.  It has a glass side panel and the back side panel of the case is just steel and has no ventilation. Taking a look at the placement of the front fans, we asked Phanteks why they weren’t higher on the case so the bottom fan could get more exposure to the bottom power supply shroud area and the answer the company gave us was simply clearance for a 360mm radiator at the top. There’s not a lot of room for the air coming into the shroud. Some of it will go through the cable pass-through if it’s empty. The back of the case features a drive mount.XTM3The company also showed off a Micro ATX case called the XTM3. It comes with 3 fans and is $70. For its front panel, it has a unique punch out for its fans. The top panel is part standard ventilation but it does have one side that provides less airflow, which covers where the PSU would exhaust out of. The side panel does have punch-outs for the PSU, however. We don’t test power supplies, though that may change in the future. Power supplies can take a lot of thermal abuse, however, so we’re not super concerned here.  The case should be shipping in the next month or so and is 39.5 liters, which includes the feet. We appreciate that as not a lot of companies will factor that in. There’s also a lot of cable management depth on the back and the case also supports BTF. In addition, there’s a panel that clamps down all of the power supply cables. T30 FanPhanteks’ T30 fan took the company 6 years to make and is a 140mm fan. The company is competing with Noctua in the high-end fan space, but is going for a grey theme instead of brown. Phanteks CTO Tenzin Rongen Interview Visit our Patreon page to contribute a few dollars toward this website's operation (or consider a direct donation or buying something from our GN Store!) Additionally, when you purchase through links to retailers on our site, we may earn a small affiliate commission.Finally, we interviewed Phanteks CTO Tenzin Rongen to discuss technical details behind the company’s long-developed fans. Make sure to check it out in our video.

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Tom's Hardware RT hat einen Link geteilt

2025-06-15 07:29:25 ·

Nintendo Switch 2 screen survives being smashed with pliers 50 times — destructive testing finds the Switch 2 to be exceptionally tough

Zack Nelson of JerryRigEverything tore apart the Nintendo Switch 2 to show us its internals and then stress-tested the screen with pliers to see how durable it is.
#nintendo #switch #screen #survives #being

Nintendo Switch 2 screen survives being smashed with pliers 50 times — destructive testing finds the Switch 2 to be exceptionally tough
Zack Nelson of JerryRigEverything tore apart the Nintendo Switch 2 to show us its internals and then stress-tested the screen with pliers to see how durable it is. #nintendo #switch #screen #survives #being

WWW.TOMSHARDWARE.COM

Nintendo Switch 2 screen survives being smashed with pliers 50 times — destructive testing finds the Switch 2 to be exceptionally tough

Zack Nelson of JerryRigEverything tore apart the Nintendo Switch 2 to show us its internals and then stress-tested the screen with pliers to see how durable it is.

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