June 3, 20258 min readWhite House Budget Plan Would Devastate U.S. Space ScienceScientists are rallying to reverse ruinous proposed cuts to both NASA and the National Science FoundationBy Nadia Drake edited by Lee BillingsFog shrouds the iconic Vehicle Assembly Building at NASA’s Kennedy Space Center in Florida in this photograph from February 25, 2025. Gregg Newton/AFP via GettyLate last week the Trump Administration released its detailed budget request for fiscal year 2026 —a request that, if enacted, would be the equivalent of carpet-bombing the national scientific enterprise.“This is a profound, generational threat to scientific leadership in the United States,” says Casey Dreier, chief of space policy at the Planetary Society, a science advocacy group. “If implemented, it would fundamentally undermine and potentially devastate the most unique capabilities that the U.S. has built up over a half-century.”The Trump administration’s proposal, which still needs to be approved by Congress, is sure to ignite fierce resistance from scientists and senators alike. Among other agencies, the budget deals staggering blows to NASA and the National Science Foundation (NSF), which together fund the majority of U.S. research in astronomy, astrophysics, planetary science, heliophysics and Earth science —all space-related sciences that have typically mustered hearty bipartisan support.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.The NSF supports ground-based astronomy, including such facilities as the Nobel Prize–winning gravitational-wave detectors of the Laser Interferometer Gravitational-Wave Observatory (LIGO), globe-spanning arrays of radio telescopes, and cutting-edge observatories that stretch from Hawaii to the South Pole. The agency faces a lethal 57 percent reduction to its $9-billion budget, with deep cuts to every program except those in President Trump’s priority areas, which include artificial intelligence and quantum information science. NASA, which funds space-based observatories, faces a 25 percent reduction, dropping the agency’s $24.9-billion budget to $18.8 billion. The proposal beefs up efforts to send humans to the moon and to Mars, but the agency’s Science Mission Directorate —home to Mars rovers, the Voyager interstellar probes, the James Webb Space Telescope (JWST), the Hubble Space Telescope, and much more —is looking at a nearly 50 percent reduction, with dozens of missions canceled, turned off or operating on a starvation diet.“It’s an end-game scenario for science at NASA,” says Joel Parriott, director of external affairs and public policy at the American Astronomical Society. “It’s not just the facilities. You’re punching a generation-size hole, maybe a multigenerational hole, in the scientific and technical workforce. You don’t just Cryovac these people and pull them out when the money comes back. People are going to move on.”Adding to the chaos, on Saturday President Trump announced that billionaire entrepreneur and private astronaut Jared Isaacman was no longer his pick for NASA administrator—just days before the Senate was set to confirm Isaacman’s nomination. Initial reports—which have now been disputed—explained the president’s decision as stemming from his discovery that Isaacman recently donated money to Democratic candidates. Regardless of the true reason, the decision leaves both NASA and the NSF, whose director abruptly resigned in April, with respective placeholder “acting” leaders at the top. That leadership vacuum significantly weakens the agencies’ ability to fight the proposed budget cuts and advocate for themselves. “What’s more inefficient than a rudderless agency without an empowered leadership?” Dreier asks.Actions versus WordsDuring his second administration, President Trump has repeatedly celebrated U.S. leadership in space. When he nominated Isaacman last December, Trump noted “NASA’s mission of discovery and inspiration” and looked to a future of “groundbreaking achievements in space science, technology and exploration.” More recently, while celebrating Hubble’s 35th anniversary in April, Trump called the telescope “a symbol of America’s unmatched exploratory might” and declared that NASA would “continue to lead the way in fueling the pursuit of space discovery and exploration.” The administration’s budgetary actions speak louder than Trump’s words, however. Instead of ushering in a new golden age of space exploration—or even setting up the U.S. to stay atop the podium—the president’s budget “narrows down what the cosmos is to moon and Mars and pretty much nothing else,” Dreier says. “And the cosmos is a lot bigger, and there’s a lot more to learn out there.”Dreier notes that when corrected for inflation, the overall NASA budget would be the lowest it’s been since 1961. But in April of that year, the Soviet Union launched the first human into orbit, igniting a space race that swelled NASA’s budget and led to the Apollo program putting American astronauts on the moon. Today China’s rapidprogress and enormous ambitions in space would make the moment ripe for a 21st-century version of this competition, with the U.S. generously funding its own efforts to maintain pole position. Instead the White House’s budget would do the exact opposite.“The seesaw is sort of unbalanced,” says Tony Beasley, director of the NSF-funded National Radio Astronomy Observatory (NRAO). “On the one side, we’re saying, ‘Well, China’s kicking our ass, and we need to do something about that.’ But then we’re not going to give any money to anything that might actually do that.”How NASA will achieve a crewed return to the moon and send astronauts to Mars—goals that the agency now considers part of “winning the second space race”—while also maintaining its leadership in science is unclear.“This is Russ Vought’s budget,” Dreier says, referring to the director of the White House’s Office of Management and Budget (OMB), an unelected bureaucrat who has been notorious for his efforts to reshape the U.S. government by weaponizing federal funding. “This isn’t even Trump’s budget. Trump’s budget would be good for space. This one undermines the president’s own claims and ambitions when it comes to space.”“Low Expectations” at the High FrontierRumors began swirling about the demise of NASA science in April, when a leaked OMB document described some of the proposed cuts and cancellations. Those included both the beleaguered, bloated Mars Sample Return (MSR) program and the on-time, on-budget Nancy Grace Roman Space Telescope, the next astrophysics flagship mission.The top-line numbers in the more fleshed-out proposal are consistent with that document, and MSR would still be canceled. But Roman would be granted a stay of execution: rather than being zeroed out, it would be put on life support.“It’s a reprieve from outright termination, but it’s still a cut for functionally no reason,” Dreier says. “In some ways, [the budget] is slightly better than I was expecting. But I had very low expectations.”In the proposal, many of the deepest cuts would be made to NASA science, which would sink from $7.3 billion to $3.9 billion. Earth science missions focused on carbon monitoring and climate change, as well as programs aimed at education and workforce diversity, would be effectively erased by the cuts. But a slew of high-profile planetary science projects would suffer, too, with cancellations proposed for two future Venus missions, the Juno mission that is currently surveilling Jupiter, the New Horizons mission that flew by Pluto and two Mars orbiters. (The Dragonfly mission to Saturn’s moon Titan would survive, as would the flagship Europa Clipper spacecraft, which launched last October.) NASA’s international partnerships in planetary science fare poorly, too, as the budget rescinds the agency’s involvement with multiple European-led projects, including a Venus mission and Mars rover.The proposal is even worse for NASA astrophysics—the study of our cosmic home—which “really takes it to the chin,” Dreier says, with a roughly $1-billion drop to just $523 million. In the president’s proposal, only three big astrophysics missions would survive: the soon-to-launch Roman and the already-operational Hubble and JWST. The rest of NASA’s active astrophysics missions, which include the Chandra X-ray Observatory, the Fermi Gamma-Ray Space Telescope and the Transiting Exoplanet Survey Satellite (TESS), would be severely pared back or zeroed out. Additionally, the budget would nix NASA’s contributions to large European missions, such as a future space-based gravitational-wave observatory.“This is the most powerful fleet of missions in the history of the study of astrophysics from space,” says John O’Meara, chief scientist at the W. M. Keck Observatory in Hawaii and co-chair of a recent senior review panel that evaluated NASA’s astrophysics missions. The report found that each reviewed mission “continues to be capable of producing important, impactful science.” This fleet, O’Meara adds, is more than the sum of its parts, with much of its power emerging from synergies among multiple telescopes that study the cosmos in many different types, or wavelengths, of light.By hollowing out NASA’s science to ruthlessly focus on crewed missions, the White House budget might be charitably viewed as seeking to rekindle a heroic age of spaceflight—with China’s burgeoning space program as the new archrival. But even for these supposedly high-priority initiatives, the proposed funding levels appear too anemic and meager to give the U.S. any competitive edge. For example, the budget directs about $1 billion to new technology investments to support crewed Mars missions while conservative estimates have projected that such voyages would cost hundreds of billions of dollars more.“It cedes U.S. leadership in space science at a time when other nations, particularly China, are increasing their ambitions,” Dreier says. “It completely flies in the face of the president’s own stated goals for American leadership in space.”Undermining the FoundationThe NSF’s situation, which one senior space scientist predicted would be “diabolical” when the NASA numbers leaked back in April, is also unsurprisingly dire. Unlike NASA, which is focused on space science and exploration, the NSF’s programs span the sweep of scientific disciplines, meaning that even small, isolated cuts—let alone the enormous ones that the budget has proposed—can have shockingly large effects on certain research domains.“Across the different parts of the NSF, the programs that are upvoted are the president’s strategic initiatives, but then everything else gets hit,” Beasley says.Several large-scale NSF-funded projects would escape more or less intact. Among these are the panoramic Vera C. Rubin Observatory, scheduled to unveil its first science images later this month, and the Atacama Large Millimeter/submillimeter Array (ALMA) radio telescope. The budget also moves the Giant Magellan Telescope, which would boast starlight-gathering mirrors totaling more than 25 meters across, into a final design phase. All three of those facilities take advantage of Chile’s pristine dark skies. Other large NSF-funded projects that would survive include the proposed Next Generation Very Large Array of radio telescopes in New Mexico and several facilities at the South Pole, such as the IceCube Neutrino Observatory.If this budget is enacted, however, NSF officials anticipate only funding a measly 7 percent of research proposals overall rather than 25 percent; the number of graduate research fellowships awarded would be cleaved in half, and postdoctoral fellowships in the physical sciences would drop to zero. NRAO’s Green Bank Observatory — home to the largest steerable single-dish radio telescope on the planet — would likely shut down. So would other, smaller observatories in Arizona and Chile. The Thirty Meter Telescope, a humongous, perennially embattled project with no clear site selection, would be canceled. And the budget proposes closing one of the two gravitational-wave detectors used by the LIGO collaboration—whose observations of colliding black holes earned the 2017 Nobel Prize in Physics—even though both detectors need to be online for LIGO’s experiment to work. Even factoring in other operational detectors, such as Virgo in Europe and the Kamioka Gravitational Wave Detector (KAGRA) in Japan, shutting down half of LIGO would leave a gaping blind spot in humanity’s gravitational-wave view of the heavens.“The consequences of this budget are that key scientific priorities, on the ground and in space, will take at least a decade longer—or not be realized at all,” O’Meara says. “The universe is telling its story at all wavelengths. It doesn’t care what you build, but if you want to hear that story, you must build many things.”Dreier, Parriott and others are anticipating fierce battles on Capitol Hill. And already both Democratic and Republican legislators have issued statement signaling that they won’t support the budget request as is. “This sick joke of a budget is a nonstarter,” said Representative Zoe Lofgren of California, ranking member of the House Committee on Science, Space, and Technology, in a recent statement. And in an earlier statement, Senator Susan Collins of Maine, chair of the powerful Senate Committee on Appropriations, cautioned that “the President’s Budget Request is simply one step in the annual budget process.”The Trump administration has “thrown a huge punch here, and there will be a certain back-reaction, and we’ll end up in the middle somewhere,” Beasley says. “The mistake you can make right now is to assume that this represents finalized decisions and the future—because it doesn’t.”

SVG animations take me back to the Hanna-Barbera cartoons I watched as a kid. Shows like Wacky Races, The Perils of Penelope Pitstop, and, of course, Yogi Bear. They inspired me to lovingly recreate some classic Toon Titles using CSS, SVG, and SMIL animations. But getting animations to load quickly and work smoothly needs more than nostalgia. It takes clean design, lean code, and a process that makes complex SVGs easier to animate. Here’s how I do it. Start Clean And Design With Optimisation In Mind Keeping things simple is key to making SVGs that are optimised and ready to animate. Tools like Adobe Illustrator convert bitmap images to vectors, but the output often contains too many extraneous groups, layers, and masks. Instead, I start cleaning in Sketch, work from a reference image, and use the Pen tool to create paths. Tip: Affinity Designer (UK) and Sketch (Netherlands) are alternatives to Adobe Illustrator and Figma. Both are independent and based in Europe. Sketch has been my default design app since Adobe killed Fireworks. Beginning With Outlines For these Toon Titles illustrations, I first use the Pen tool to draw black outlines with as few anchor points as possible. The more points a shape has, the bigger a file becomes, so simplifying paths and reducing the number of points makes an SVG much smaller, often with no discernible visual difference. Bearing in mind that parts of this Yogi illustration will ultimately be animated, I keep outlines for this Bewitched Bear’s body, head, collar, and tie separate so that I can move them independently. The head might nod, the tie could flap, and, like in those classic cartoons, Yogi’s collar will hide the joins between them. Drawing Simple Background Shapes With the outlines in place, I use the Pen tool again to draw new shapes, which fill the areas with colour. These colours sit behind the outlines, so they don’t need to match them exactly. The fewer anchor points, the smaller the file size. Sadly, neither Affinity Designer nor Sketch has tools that can simplify paths, but if you have it, using Adobe Illustrator can shave a few extra kilobytes off these background shapes. Optimising The Code It’s not just metadata that makes SVG bulkier. The way you export from your design app also affects file size. Exporting just those simple background shapes from Adobe Illustrator includes unnecessary groups, masks, and bloated path data by default. Sketch’s code is barely any better, and there’s plenty of room for improvement, even in its SVGO Compressor code. I rely on Jake Archibald’s SVGOMG, which uses SVGO v3 and consistently delivers the best optimised SVGs. Layering SVG Elements My process for preparing SVGs for animation goes well beyond drawing vectors and optimising paths — it also includes how I structure the code itself. When every visual element is crammed into a single SVG file, even optimised code can be a nightmare to navigate. Locating a specific path or group often feels like searching for a needle in a haystack. That’s why I develop my SVGs in layers, exporting and optimising one set of elements at a time — always in the order they’ll appear in the final file. This lets me build the master SVG gradually by pasting it in each cleaned-up section. For example, I start with backgrounds like this gradient and title graphic. Instead of facing a wall of SVG code, I can now easily identify the background gradient’s path and its associated linearGradient, and see the group containing the title graphic. I take this opportunity to add a comment to the code, which will make editing and adding animations to it easier in the future: <svg ...> <defs> <!-- ... --> </defs> <path fill="url(#grad)" d="…"/> <!-- TITLE GRAPHIC --> <g> <path … /> <!-- ... --> </g> </svg> Next, I add the blurred trail from Yogi’s airborne broom. This includes defining a Gaussian Blur filter and placing its path between the background and title layers: <svg ...> <defs> <linearGradient id="grad" …>…</linearGradient> <filter id="trail" …>…</filter> </defs> <!-- GRADIENT --> <!-- TRAIL --> <path filter="url(#trail)" …/> <!-- TITLE GRAPHIC --> </svg> Then come the magical stars, added in the same sequential fashion: <svg ...> <!-- GRADIENT --> <!-- TRAIL --> <!-- STARS --> <!-- TITLE GRAPHIC --> </svg> To keep everything organised and animation-ready, I create an empty group that will hold all the parts of Yogi: <g id="yogi">...</g> Then I build Yogi from the ground up — starting with background props, like his broom: <g id="broom">...</g> Followed by grouped elements for his body, head, collar, and tie: <g id="yogi"> <g id="broom">…</g> <g id="body">…</g> <g id="head">…</g> <g id="collar">…</g> <g id="tie">…</g> </g> Since I export each layer from the same-sized artboard, I don’t need to worry about alignment or positioning issues later on — they’ll all slot into place automatically. I keep my code clean, readable, and ordered logically by layering elements this way. It also makes animating smoother, as each component is easier to identify. Reusing Elements With <use> When duplicate shapes get reused repeatedly, SVG files can get bulky fast. My recreation of the “Bewitched Bear” title card contains 80 stars in three sizes. Combining all those shapes into one optimised path would bring the file size down to 3KB. But I want to animate individual stars, which would almost double that to 5KB: <g id="stars"> <path class="star-small" fill="#eae3da" d="..."/> <path class="star-medium" fill="#eae3da" d="..."/> <path class="star-large" fill="#eae3da" d="..."/> <!-- ... --> </g> Moving the stars’ fill attribute values to their parent group reduces the overall weight a little: <g id="stars" fill="#eae3da"> <path class="star-small" d="…"/> <path class="star-medium" d="…"/> <path class="star-large" d="…"/> <!-- ... --> </g> But a more efficient and manageable option is to define each star size as a reusable template: <defs> <path id="star-large" fill="#eae3da" fill-rule="evenodd" d="…"/> <path id="star-medium" fill="#eae3da" fill-rule="evenodd" d="…"/> <path id="star-small" fill="#eae3da" fill-rule="evenodd" d="…"/> </defs> With this setup, changing a star’s design only means updating its template once, and every instance updates automatically. Then, I reference each one using <use> and position them with x and y attributes: <g id="stars"> <!-- Large stars --> <use href="#star-large" x="1575" y="495"/> <!-- ... --> <!-- Medium stars --> <use href="#star-medium" x="1453" y="696"/> <!-- ... --> <!-- Small stars --> <use href="#star-small" x="1287" y="741"/> <!-- ... --> </g> This approach makes the SVG easier to manage, lighter to load, and faster to iterate on, especially when working with dozens of repeating elements. Best of all, it keeps the markup clean without compromising on flexibility or performance. Adding Animations The stars trailing behind Yogi’s stolen broom bring so much personality to the animation. I wanted them to sparkle in a seemingly random pattern against the dark blue background, so I started by defining a keyframe animation that cycles through different opacity levels: @keyframes sparkle { 0%, 100% { opacity: .1; } 50% { opacity: 1; } } Next, I applied this looping animation to every use element inside my stars group: #stars use { animation: sparkle 10s ease-in-out infinite; } The secret to creating a convincing twinkle lies in variation. I staggered animation delays and durations across the stars using nth-child selectors, starting with the quickest and most frequent sparkle effects: /* Fast, frequent */ #stars use:nth-child(n + 1):nth-child(-n + 10) { animation-delay: .1s; animation-duration: 2s; } From there, I layered in additional timings to mix things up. Some stars sparkle slowly and dramatically, others more randomly, with a variety of rhythms and pauses: /* Medium */ #stars use:nth-child(n + 11):nth-child(-n + 20) { ... } /* Slow, dramatic */ #stars use:nth-child(n + 21):nth-child(-n + 30) { ... } /* Random */ #stars use:nth-child(3n + 2) { ... } /* Alternating */ #stars use:nth-child(4n + 1) { ... } /* Scattered */ #stars use:nth-child(n + 31) { ... } By thoughtfully structuring the SVG and reusing elements, I can build complex-looking animations without bloated code, making even a simple effect like changing opacity sparkle. Then, for added realism, I make Yogi’s head wobble: @keyframes headWobble { 0% { transform: rotate(-0.8deg) translateY(-0.5px); } 100% { transform: rotate(0.9deg) translateY(0.3px); } } #head { animation: headWobble 0.8s cubic-bezier(0.5, 0.15, 0.5, 0.85) infinite alternate; } His tie waves: @keyframes tieWave { 0%, 100% { transform: rotateZ(-4deg) rotateY(15deg) scaleX(0.96); } 33% { transform: rotateZ(5deg) rotateY(-10deg) scaleX(1.05); } 66% { transform: rotateZ(-2deg) rotateY(5deg) scaleX(0.98); } } #tie { transform-style: preserve-3d; animation: tieWave 10s cubic-bezier(0.68, -0.55, 0.27, 1.55) infinite; } His broom swings: @keyframes broomSwing { 0%, 20% { transform: rotate(-5deg); } 30% { transform: rotate(-4deg); } 50%, 70% { transform: rotate(5deg); } 80% { transform: rotate(4deg); } 100% { transform: rotate(-5deg); } } #broom { animation: broomSwing 4s cubic-bezier(0.5, 0.05, 0.5, 0.95) infinite; } And, finally, Yogi himself gently rotates as he flies on his magical broom: @keyframes yogiWobble { 0% { transform: rotate(-2.8deg) translateY(-0.8px) scale(0.998); } 30% { transform: rotate(1.5deg) translateY(0.3px); } 100% { transform: rotate(3.2deg) translateY(1.2px) scale(1.002); } } #yogi { animation: yogiWobble 3.5s cubic-bezier(.37, .14, .3, .86) infinite alternate; } All these subtle movements bring Yogi to life. By developing structured SVGs, I can create animations that feel full of character without writing a single line of JavaScript. Try this yourself: See the Pen Bewitched Bear CSS/SVG animation [forked] by Andy Clarke. Conclusion Whether you’re recreating a classic title card or animating icons for an interface, the principles are the same: Start clean, Optimise early, and Structure everything with animation in mind. SVGs offer incredible creative freedom, but only if kept lean and manageable. When you plan your process like a production cell — layer by layer, element by element — you’ll spend less time untangling code and more time bringing your work to life.

Fruit flies don't naturally enjoy the taste of cocaine. Credit: Deposit Photos Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. In a world first, scientists at the University of Utah have engineered fruit flies susceptible to cocaine addiction. But as strange as it sounds, there are potentially life-saving reasons for genetically altering the insects to crave the drug. The novel biological model could help addiction treatment therapies development and expedite research timelines. The findings are detailed in the Journal of Neuroscience. As surprising as it may sound, humans have a lot in common with fruit flies. In fact, we share around 70–75 percent of the same genes responsible for various diseases, as well as many of the same vital organs. Researchers have relied on the insects for genetic studies for years, especially for investigating the biological roots of certain addictions like cocaine abuse. This is due in large part to the fruit fly’s quick life cycle and its comparatively simple genetic makeup. But while scientists have administered the drug to the bugs in the past, there’s always been a small problem. “Flies don’t like cocaine one bit,” Adrian Rothenfluh, the study’s senior author and an associate professor of psychiatry, said in a statement. Even when previously introduced to cocaine, Rothenfluh’s team noted that the insects routinely opted for pure sugar water over sugar water laced with cocaine. Study first author Travis Philyaw theorized the reason may reside in a fly’s sense of taste that is found on their legs. “Insects are evolutionarily primed to avoid plant toxins, and cocaine is a plant toxin,” Philyaw explained. “They have taste receptors on their ‘arms’—their tarsal segments—so they can put their hand in something before it goes in their mouth, and decide, ‘I’m not going to touch that.'” After confirming that cocaine activates a fruit fly’s bitter-sensing taste receptors, Rothenfluh and Philyaw switched off those nerves. Once deactivated, there was little to stop the flies from developing a cocaine habit. These modified flies were subsequently introduced to sugar water infused with a low concentration of cocaine. Within 16 hours, the insects indicated a preference for the drug-laced drink. “At low doses, they start running around, just like people,” said Rothenfluh. “At very high doses, they get incapacitated, which is also true in people.” Now that researchers know how to breed the modified fruit flies, they can more easily study how cocaine addiction evolves in the body. Not only that, but they can do so on a much faster timeline by analyzing hundreds of genes at a time. “We can scale research so quickly in flies,” said Philyaw. “We can identify risk genes that might be difficult to uncover in more complex organisms, and then we pass that information to researchers who work with mammalian models.” From there, scientists can identify treatment targets that help link to human therapy options. “We can really start to understand the mechanisms of cocaine choice, and the more you understand about the mechanism, the more you have a chance to find a therapeutic that might act on that mechanism,” explained Rothenfluh.

We may earn a commission from links on this page.While most people think of smart cameras as just a part of their security system, they’re also a good way to monitor the things growing in your yard. In most cases, the cameras you already have set up for security can be doing double duty as a tool to keep track of what's happening in your garden.I believe we’re on the cusp of smart cameras becoming a much bigger part of the gardening experience. For the last few years, smart bird houses have exploded in popularity. One of those companies, Bird Buddy, has launched an entirely new line of cameras specifically for micro-viewing experiences in the garden. Their Petal cameras, expected to be available next year, should be positioned closer to the ground than most security cameras, and are meant to capture bees, insects, and butterflies, as well as the growth of your plants. Using AI (as a subscription service), the camera will allow you to assign names to your plants and even communicate with them. Still, there is a lot you can do with security cameras already on the market. Remote monitoring Credit: Amanda Blum In an ideal world, you could pack up for vacation and your yard would take care of itself—but a smart camera can allow you to remotely keep an eye on what’s happening and monitor for any damage. What’s impressive to me is how well my solar-powered cameras maintain their connection, even during low temperatures and freezing rain.  I've been impressed at how much detail I can get from small plants through my cameras. Credit: Amanda Blum Cameras allow you to keep an active watch on your yard. Not only will your security camera let you know if your trusted waterer drops by while you're gone as promised, but you can actually see how your plants are doing and if additional help is needed.  I’m always impressed at how good the zoom is on the cameras I use around my yard; I can actually tell if a tomato is ripe or if broccoli is ready to be picked. Last year, when I couldn’t get outside because of a sprained ankle and had someone helping in the garden, being able to see what they were doing and communicate with them via my security camera was invaluable. It’s much more effective than trying to describe what you need or want. Catch pestsGarden pests are frustrating for a wealth of reasons. To start with, you often don’t know what kind of pest you’re dealing with, and it’s nearly impossible to catch them in the act. Smart cameras are perfect for this, because they give you fly-on-the-wall ability to passively watch. Motion detection does most of the work for you. My security camera let me know I had raccoons in my yard last winter. They weren’t doing any damage (yet), but it helped influence how I design my garden and chicken coops. The cameras identified the cat that had chosen my garden to use as a litter box, checking in each night around 1 a.m. I’ve been chasing down a rat for the last two weeks, and the cameras do a spectacular job of catching his activity, which tells me where to add traps and what I may be doing that is enabling him. Other uses for smart cameras in your yard Credit: Amanda Blum The most invaluable service I’ve gotten from my cameras are how I use them to monitor backyard pets. I could not figure out how my newly adopted doberman was escaping from the yard, so I installed security cameras, and discovered she was climbing a five-foot tall chain link fence. I’ve got three cameras installed in my chicken coop, and they tell me when there are eggs to be grabbed, if a chicken is becoming broody, if everyone got into the coop at night, and if that pesky rat has cracked into the chicken food. When I first got my chickens, I couldn’t figure out which bird was laying which color egg, but the cameras helped. And now that I have a beehive, being able to see the activity going in and out of the hive is a helpful to monitor the health of the hive, and if a rodent of any kind tries to get in, I’ll know immediately. How to choose a camera for your yardI’ve tried smart cameras from almost every major brand, and I’ve figured out some things. First, in almost all cases, I want a PTZ (point, tilt, zoom) camera. These allow you to use your phone as a remote control and move the camera around, often almost 360 degrees, to zoom in on what you want. This is far superior to a fixed range camera. It’s simply annoying to have something going on just outside of the range of your camera and not be able to do anything to adjust it remotely. Additionally, I look for an app that makes it easy to watch clips. While I think Reolink cameras are affordable and functional, their app forces you to watch a horizontal clip on a vertical screen, so details are incredibly small. The Ring app has a lot of bloat, bringing neighborhood alert notifications to your phone. I enjoy the Aqara, Switchbot, and Eufy apps for getting to the video quickly and easily. Lastly, as you add cameras to your collection, being able to remain free from subscription costs is a real bonus. For that reason, I have largely switched over to Eufy cameras, which—if connected to a Home Base—don’t need a subscription. What I use in my yard: I replaced all my floodlights with this camera for overhead views Eufy Wired Floodlight Cam $199.99 at Amazon $219.99 Save $20.00 Shop Now Shop Now $199.99 at Amazon $219.99 Save $20.00 I place these wireless cams anyplace I want a 360 view of what's happening in my yard. Eufy Solar Powered Wireless Camera $259.99 at Amazon $349.99 Save $90.00 Shop Now Shop Now $259.99 at Amazon $349.99 Save $90.00 I have this epoxied into three spots in my chicken coop. Eufy Indoor PTZ Camera $34.88 at Amazon Shop Now Shop Now $34.88 at Amazon Just added this to monitor my beehive. Eufycam S3 Pro $439.99 at Amazon $549.99 Save $110.00 Get Deal Get Deal $439.99 at Amazon $549.99 Save $110.00 All my cameras sync to the homebase so I don't need a subscription. Eufy HomeBase $149.99 at Amazon Get Deal Get Deal $149.99 at Amazon SEE 2 MORE Where to place your camera Credit: Amanda Blum All security cameras are either hardwired or wireless. You might already have exterior floodlights on your home, and wired security cameras can use those connections, replacing the lights (many units come with floodlights). In this case, your connection is likely high up, and can’t be moved easily. So long as it’s high up, you likely have a good field of vision of your yard, but make sure to consider plants that grow in the summer, and if they’ll block your view. If you don’t have these connections available and don’t want to pay an electrician to create them, you need wireless cameras. But I actually prefer my wireless cameras. First, the solar power on most of them is astounding. I live in the Pacific Northwest, a place with seven months of gloom, and my cameras always stay powered. Second, being wireless means you can move your camera around to find the perfect spot. Usually all you need is to screw the base into the spot you want the camera. Don’t be afraid to try different spots, when I was chasing down how my dog escaped, I had to keep moving the camera. I attached the camera to a 2x4, and moved the wood around the yard, leaning it against whatever was near until I found the right range of vision. 

When Anna Ginsburg opened her talk at OFFF Barcelona with her showreel, it landed like a punch to the heart and gut all at once. Immense, emotional, awesome. That three-word review wasn't just for the reel – it set the tone for a talk that was unflinchingly honest, joyously weird, and brimming with creative intensity. Anna began her career making music videos, which she admitted were a kind of creative scaffolding: "I didn't yet know what I wanted to say about the world, so I used music as a skeleton to hang visuals on." It gave her the freedom to experiment visually and technically with rotoscoping, stop motion and shooting live-action. It was an opportunity to be playful and have fun until she had something pressing to say. Then, Anna began to move into more meaningful territory, blending narrative and aesthetic experimentation. Alongside music videos, she became increasingly drawn to animated documentaries. "It's a powerful and overlooked genre," she explained. "When it's just voice recordings and not video, people are more candid. You're protecting your subject, so they're more honest." Talking genitals and creative liberation: The making of Private Parts A formative moment in Anna's personal and creative life occurred when she saw the artwork 'The Great Wall of Vagina' by Jamie McCartney at the age of 19. It followed an awkward teenage discovery years earlier when, after finally achieving her first orgasm (post-Cruel Intentions viewing), she proudly shared the news with friends and was met with horror. "Boys got high-fived. Girls got shamed." That gap between female pleasure and cultural discomfort became the starting point for Private Parts, her now-famous animated short about masturbation and sexual equality. It began as a personal experiment, sketching vulvas in her studio, imagining what their facial expressions might be. Then, she started interviewing friends about their experiences and animating vulvas to match their voices. When It's Nice That and Channel 4 emailed her looking for submissions for a late-night slot, Anna shared a clip of two vulvas in casual conversation, and they were immediately sold. With a shoestring budget of £2,000 and a five-week deadline, she rallied 11 illustrators to help bring the film to life. "I set up a Dropbox, and talking genitals started flooding in from the four corners of the world while I was sitting in my bedroom at my mum's," she laughed. One standout moment came from an Amsterdam-based designer who created a CGI Rubik's Cube vagina, then took two weeks off work to spray paint 100 versions of it. The result of what started as a passion project is an iconic, hilarious, and touching film that still resonates ten years on. From humour to heartbreak: What Is Beauty The talk shifted gear when Anna began to speak about her younger sister's anorexia. In 2017, during her sister's third hospitalisation, Anna found herself questioning the roots of beauty ideals, particularly in Western culture. Witnessing her sister's pain reframed how she saw her own body. This sparked a deep dive into beauty through the ages, from the Venus of Willendorf, a 28,000-year-old fertility goddess, to the Versace supermodels of the 1990s and the surgically sculpted Kardashians of today. "You realise the pace of the change in beauty ideals," she says. "If you revisit the skeletal female bodies which defined the super skinny era of the 2000s and compare it to the enhanced curves of today, you realise that trying to keep up is not only futile; it's extremely dangerous." She also explored the disturbing trend of dismemberment in advertising – shots taken where the heads are intentionally out of frame – and the impact this has on self-perception. Her response was What Is Beauty, released in 2018 on International Women's Day and her sister's birthday. The short film went viral, amassing over 20 million views. "It was a love letter to her," Anna said. "Because it didn't have English dialogue, it travelled globally. The simplicity made it resonate." And despite its runaway success, it brought her zero income. "Then I made the worst advert for a bank the world has ever seen," she joked. "I made money, but it broke my creative spirit." Enter the Hag: Animation, myth and millennial angst OFFF attendees were also treated to the world-exclusive first look at Hag, Anna's new animated short, three years in the making. It's her most ambitious and most personal project yet. Made with the support of the BFI, awarding National Lottery funding, Has is a 16-minute fantasy set in a surreal version of Peckham. The main character is a childless, single, disillusioned woman with snakes for hair. "I had just broken up with a lockdown boyfriend after struggling with doubts for nearly 2 years,"' she reveals. "The next day, I was at a baby shower surrounded by friends with rings and babies who recoiled at my touch. I was surrounded by flies, and a dog was doing a poo right next to me. I just felt like a hag." Drawing on Greek mythology, Anna reimagines Medusa not as a jealous monster but as a feminist figure of rage, autonomy and misinterpretation. "I didn't know she was a rape victim until I started researching," she told me after the talk. "The story of Athena cursing her out of jealousy is such a tired trope. What if it was solidarity? What if the snakes were power?" In Hag, the character initially fights with her snakes – violently clipping them back in shame and battling with them – but by the end, they align. She embraces her monstrous self. "It's a metaphor for learning to love the parts of yourself you've been told are wrong," Anna said. "That journey is universal." Making the personal political (and funny) Telling a story so autobiographical wasn't easy. "It's exposing," Anna admitted. "My past work dealt with issues in the world. This one is about how I feel in the world." Even her ex-boyfriend plays himself. "Luckily, he's funny and cool about it. Otherwise, it would've been a disaster." She did worry about dramatising the baby shower scene too much. "None of those women were horrible in real life, but for the film, we needed to crank up the emotional tension," she says. "I just wanted to show that societal pressures make women feel monstrous whether they decide to conform or not. This is not a battle between hags and non-hags. These feelings affect us all." Co-writing the script with her dear friend and writer Miranda Latimer really helped. "It felt less exposing as we'd both lived versions of the same thing. Collaboration is liberating and makes me feel safer when being so honest," Anna explains. Sisterhood, generations and the pressure to conform It was very clear from our chat that Anna's younger sisters are a recurring thread throughout her work. "They've helped me understand the world through a Gen Z lens," she said. "Stalking my youngest sister on Instagram was how I noticed the way girls crop their faces or hide behind scribbles. It's dehumanising." That intergenerational awareness fuels many of her ideas. "I definitely wouldn't have made What Is Beauty without Maya. Seeing what she was going through just unlocked something." She's also keenly aware of the gender gap in healthcare. "So many women I know are living with pain, going years without a diagnosis. It's infuriating. If I get asked to work on anything to do with women's health, I'll say yes." Medusa, millennials, and the meaning of self-love One of Hag's most biting commentaries is about millennial self-care culture. "There's a scene in the character's bedroom – it's got a faded Dumbledore poster, self-help books, a flashing 'Namaste' sign. It's a shrine to the broken millennial." She laughs: "Self-love became a commodity. An expensive candle, a jade roller, and an oil burner from Muji. Like, really? That's it?" Her film pokes at the performative of wellness while still holding space for genuine vulnerability. This same self-awareness informs her reflections on generational shifts. "Gen Z is going through the same thing, just with a different flavour. It's all about skincare routines now – 11 steps for a 14-year-old. It's wild." Feminism with fangs (and a sense of humour) Anna's feminism is open, intersectional, and laced with humour. "My mum's a lesbian and a Child Protection lawyer who helped to make rape within marriage illegal in the UK," she shared. "She sometimes jokes that my work is a bit basic. But I'm OK with that – I think there's space for approachable feminism, too." Importantly, she wants to bring everyone into the conversation. "It means so much when men come up to me after talks. I don't want to alienate anyone. These stories are about people, not just women." What's Next? Hag will officially premiere later this year, and it's likely to resonate far and wide. It's raw, mythic, funny and furious – and thoroughly modern. As Anna put it: "I've been experiencing external pressure and internal longing while making this film. So I'm basically becoming a hag while making Hag." As far as metamorphoses go, that's one we'll happily watch unfold.

39 Summer Fonts That Really ‘Sizzle’ In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.As a graphic designer who lives for those long, lazy summer days, I can’t help but get excited when it’s time to break out the summer fonts. There’s something absolutely magical about typography that captures the essence of sunshine, beach vibes, and endless possibilities. Summer fonts are more than just pretty letters on a screen – they’re visual vacation postcards that transport viewers straight to sandy beaches, backyard barbecues, and those perfect golden hour moments. I’ve spent countless hours (probably too many!) curating the perfect collection of typefaces that embody everything we love about the warmest season of the year. Whether you’re designing festival posters, ice cream shop branding, or social media graphics that scream “summer vibes,” the right font can make all the difference. It’s not just about looking good (though these fonts absolutely do); it’s about evoking that carefree, sun-kissed feeling that makes summer so special. In this comprehensive guide, we’ll dive deep into the most sizzling summer fonts of 2025, explore what makes a font feel summery, and discover how to use these typefaces to bring that vacation energy to any project. So grab your favorite cold drink, find a spot in the shade, and let’s embark on this typographic summer adventure together! 👋 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 Hottest Summer Fonts of 2025 Not all fonts are created equal when it comes to capturing that perfect summer essence. I’ve handpicked the most vibrant, energetic typefaces that’ll make your designs feel like a breath of fresh ocean air. Here are my top picks: Summer Sunshine Summer Sunshine is a vibrant decorative font that exudes warmth and cheer. Its playful letterforms and sunny aesthetic make it perfect for summer-themed designs and joyful projects.Summer Days Summer Days is a lively script font that captures the essence of carefree summer vibes. Its fluid, handwritten style and energetic character make it ideal for creating designs with a fresh and vibrant feel.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. Summer Crab Summer Crab is a unique serif font with a handwritten twist, perfect for summer-themed typography. Its quirky design combines elegance with a touch of whimsy, making it suitable for both formal and casual summer projects.Sunrise Waves Sunrise Waves is a brushy sans-serif font that evokes the calm and beauty of a beach at dawn. Its smooth lines and balanced proportions make it versatile for various summer and coastal-themed designs.Summer Wednesday Summer Wednesday is a charming script font that captures the essence of lazy summer days. Its relaxed, handwritten style is perfect for creating designs with a casual, vacation-like atmosphere.Summers Typeface + BONUS vector Summers Typeface is a versatile script font that comes with bonus vector elements. Its flowing monoline letterforms and additional graphics make it an excellent choice for creating comprehensive summer-themed designs and branding materials.Sunroof & Summer Sunroof & Summer is a carefree handwritten font that embodies the spirit of summer road trips. Its natural, spontaneous style is perfect for creating designs with a laid-back and adventurous feel.Summerica Typeface Summerica Typeface is a playful serif font with a hint of nostalgia. Its unique blend of classic and whimsical elements makes it ideal for summer holiday designs and retro-inspired projects.Summer Heaven Summer Heaven is a delightful script font that radiates warmth and happiness. Its sunny disposition and fluid letterforms make it perfect for creating designs that evoke the joy of perfect summer days.Summer – Handwriting Font Summer is a versatile handwriting font that combines sans-serif elements with a script-like flow. Its natural, easy-going style makes it suitable for a wide range of summer-themed designs and personal projects.AL – Blue Season AL – Blue Season is a refreshing cursive font that captures the essence of cool summer breezes. Its flowing letterforms and subtle blue hues make it perfect for creating designs with a calm, seasonal atmosphere.Summer Fruits – Layered Font Summer Fruits is a playful layered font that adds depth and vibrancy to designs. Its fruity aesthetic and customizable layers make it ideal for creating eye-catching summer-themed typography and graphics.Sunburned Tropic – Summer Brush Font Sunburned Tropic is a bold brush font that exudes tropical summer vibes. Its rough, organic texture and energetic strokes make it perfect for creating designs with a beachy, sun-soaked feel.FLIES SUMMER FLIES SUMMER is a modern sans-serif display font with a unique twist. Its clean lines and subtle summer-inspired details make it versatile for various design projects, from branding to editorial layouts.Summer Festival Summer Festival is a lively decorative fun font that captures the excitement of outdoor events. Its playful letterforms and festive character make it ideal for creating designs for summer concerts, fairs, and celebrations.Summer Journey Summer Journey is a versatile font that combines decorative and sans-serif elements. Its unique design evokes a sense of adventure, making it perfect for travel-themed projects and summer vacation designs.Summer Times Summer Times is a chunky, fun script font that radiates positivity with its mid-century font style. Its bold letterforms and playful style make it excellent for creating eye-catching headlines and designs with a cheerful summer vibe.Summer Foliage Font Summer Foliage Font is a nature-inspired typeface that blends sans-serif and script elements. Its organic shapes and leafy details make it perfect for creating designs with a fresh, summery botanical theme.Summer Dust Font Summer Dust Font is a clean and airy typeface that combines sans-serif and handwritten styles. Its light, breezy character makes it ideal for creating designs with a soft, summery atmosphere.Summer Splash Summer Splash is a vibrant splashy water font with a decorative flair. Its energetic letterforms and splashy details make it perfect for creating designs that evoke the fun and excitement of summer water activities.Summer Vibes Summer Vibes is a relaxed sans-serif font with a handwritten feel. Its casual style and subtle imperfections make it ideal for creating designs with a laid-back, beachy atmosphere.Summer Dance Summer Dance is a lively script font with decorative elements. Its fluid, rhythmic letterforms make it perfect for creating designs that convey movement and joy, ideal for summer event promotions.Summer Show Summer Show is a bold display font that combines sans-serif and decorative features. Its striking design and summer-inspired details make it excellent for creating eye-catching headlines and promotional materials.Summer Tropics Summer Tropics is a fun and chunky script font that exudes tropical vibes. Its playful letterforms and bold character make it perfect for creating designs with a lively, vacation-like atmosphere.Summer Diary Summer Diary is a charming decorative font with a personal touch. Its handwritten-style letterforms and subtle embellishments make it ideal for creating designs that evoke memories of summer adventures.Salty Bash Handwriting Script Salty Bash is a carefree handwriting script with a beachy vibe. Its natural flow and slightly weathered appearance make it perfect for creating designs with a relaxed, coastal feel.Summer Flash Summer Flash is a dynamic decorative font with a sense of energy and movement. Its bold, eye-catching design makes it ideal for creating impactful summer-themed headlines and promotional materials.Summer Tropica – Playful Font Summer Tropica is a fun and vibrant font that combines script and sans-serif elements. Its playful character and tropical flair make it perfect for creating designs with a lively summer atmosphere.Ocean – Hand Writing Summer Font Ocean is a refreshing wavy font with a beachy feel. Its natural flow and subtle irregularities make it ideal for creating designs that evoke the relaxed atmosphere of seaside vacations.Summer Party Summer Party is an energetic script font that captures the excitement of summer festivities. Its lively letterforms and dynamic style make it perfect for creating designs for summer events and celebrations.Summer Funny – Summer Display Font Summer Funny is a quirky and playful display font with a chunky design. Its fun character and bold presence make it ideal for creating eye-catching headlines and designs with a lighthearted summer vibe.Summer Lemonade + Extras Summer Lemonade is a refreshing script font that comes with extra design elements. Its crisp, fluid letterforms and additional graphics make it perfect for creating comprehensive summer-themed branding and designs.Tropical Summer Font Tropical Summer Font is an exotic blend of script and decorative elements. Its lush, organic design and tropical motifs make it ideal for creating designs with a vibrant, paradise-like atmosphere.Fest Summer Font Fest Summer Font is a bold and chunky script that radiates fun and excitement. Its playful letterforms and energetic style make it perfect for creating designs for summer festivals and outdoor events.Fresh Kids – Fun Display Font Fresh Kids is a lively bubble font designed with children in mind. Its playful character and cheerful design make it ideal for creating kid-friendly summer designs and educational materials.Summer Blaze – Summer Brush Font Summer Blaze is an energetic brush font that captures the heat of summer. Its bold strokes and dynamic character make it perfect for creating designs with a sun-soaked, beachy vibe.Beach Vibe – Summer font Beach Vibe is a laid-back sans-serif font with a summer twist. Its relaxed style and subtle coastal elements make it ideal for creating designs with a cool, holiday atmosphere.SUMMER QUICK – Fun Font SUMMER QUICK is a lively sans-serif display font with a fun, casual feel. Its quirky letterforms and energetic style make it perfect for creating designs with a spontaneous summer vibe.Benji Holidas Summer Display Font Benji Holidas is a charming decorative font with a summery disposition. Its unique letterforms and playful design make it ideal for creating eye-catching headlines and designs for summer holidays and events.What Makes a Font Feel Like Summer? Ever wondered what gives certain fonts that unmistakable summer vibe? It’s not magic (though it might feel like it) – there are specific design elements that trigger those warm, sunny associations in our minds. Relaxed, Flowing Letterforms Summer fonts often feature loose, organic shapes that mirror the laid-back nature of the season. Think flowing scripts that feel like ocean waves or casual handwritten styles that look like they were penned on a beach towel. These relaxed letterforms create an instant sense of ease and vacation mode. The beauty lies in their imperfection – slightly uneven baselines, varying letter sizes, and that wonderful hand-drawn quality that says “life’s too short to stress about perfect alignment.” Bright, Energetic Personality Summer fonts radiate energy and optimism. They’re the typographic equivalent of a sunny day – bold when they need to be, playful in their character variations, and always ready to put a smile on your face. Many summer fonts incorporate fun details like decorative flourishes, tropical motifs, or beach-inspired elements that add personality and charm. These little touches transform ordinary letters into summer storytelling devices. Vintage Beach Resort Vibes There’s something irresistibly nostalgic about classic summer typography. Fonts that reference vintage surf culture, retro vacation postcards, or mid-century beach resort signage tap into our collective summer memories. These typefaces often feature bold, confident letterforms with a touch of that authentic vintage wear – like sun-faded signs that have weathered countless summers and still look absolutely perfect. Where to Use Summer Fonts Summer fonts are incredibly versatile, bringing that vacation energy to a wide range of design applications. Their cheerful, relaxed nature makes them perfect for projects that want to feel approachable and fun. Event and Festival Branding Summer fonts are absolute stars when it comes to music festivals, beach parties, food truck events, and outdoor celebrations. Their energetic personality helps capture the excitement and community spirit of summer gatherings. From concert posters that need to grab attention from across a crowded street to wristbands that become summer souvenirs, the right summer font sets the perfect tone for memorable experiences. Hospitality and Tourism Beach resorts, vacation rentals, travel agencies, and tropical restaurants all benefit from summer fonts that instantly communicate relaxation and escape. These typefaces help potential guests imagine themselves already on vacation. Whether it’s a boutique hotel’s website, a restaurant’s poolside menu, or a travel blog’s header, summer fonts create that crucial emotional connection with wanderlust. Food and Beverage Ice cream shops, juice bars, beachside cafes, and summer pop-up stands rely on fonts that feel as refreshing as their offerings. Summer fonts help communicate that products are fresh, fun, and perfect for hot weather. From smoothie shop logos to popsicle packaging, these fonts add flavor before customers even take their first taste. Social Media and Digital Design Summer fonts absolutely shine in digital spaces where catching attention is crucial. Instagram posts, Pinterest graphics, blog headers, and email newsletters all benefit from typography that stops the scroll and says “summer!” Where to Avoid Summer Fonts While summer fonts bring joy and energy to many projects, there are definitely situations where their casual, playful nature might not be the best fit. Corporate and Professional Contexts Financial institutions, law firms, medical practices, and other professional services typically need fonts that convey trust, reliability, and expertise. Summer fonts, with their relaxed and playful nature, might undermine the serious tone these industries require. Save the beach vibes for beach-related projects, and opt for more traditional, authoritative typefaces when professionalism is paramount. Technical Documentation User manuals, software interfaces, scientific reports, and instructional materials need maximum clarity and readability. Summer fonts, while beautiful, can sometimes sacrifice legibility for personality – not ideal when clear communication is critical. Formal Occasions Wedding invitations (unless it’s a beach wedding!), memorial services, graduation ceremonies, and other formal events typically call for more elegant, traditional typography that matches the occasion’s gravity and importance. How to Choose the Perfect Summer Font Selecting the ideal summer font involves balancing aesthetic appeal with practical considerations. Here’s how to nail that perfect summer typography choice: Consider Your Audience Think about who you’re designing for. A family beach resort might want fonts that feel welcoming to all ages, while a trendy rooftop bar could go for something more sophisticated and contemporary. Young festival-goers respond to different visual cues than luxury vacation travelers. Match the Summer Vibe Summer encompasses many different moods – from energetic beach parties to serene sunset dinners. Identify the specific summer feeling you want to evoke. Is it playful and energetic? Relaxed and tropical? Nostalgic and vintage? Let this guide your font selection. Test Readability Summer fonts often prioritize personality over perfection, but your message still needs to be clear. Test your chosen font at various sizes and in different contexts to ensure it maintains readability across all applications. Consider Seasonal Flexibility If you’re designing for a brand that operates year-round, consider how your summer font choice will work in off-season communications. Some fonts are specifically summery, while others have enough versatility to work across seasons with different color palettes or supporting elements. Alternatives to Traditional Summer Fonts While dedicated summer fonts are fantastic, there are other typographic approaches that can capture seasonal energy: Tropical Script Fonts Flowing scripts with exotic flair can evoke tropical paradise without being explicitly summer-themed. These work beautifully for destination weddings, luxury resorts, and high-end travel brands. Vintage Surf Typography Fonts inspired by classic surf culture bring authentic beach credibility to modern designs. These work especially well for brands that want to tap into surf and beach lifestyle culture. Hand-Lettered Styles Custom hand-lettered looks feel personal and authentic – perfect for small businesses, artisanal products, and brands that want to feel approachable and genuine. Common Summer Font Questions Let’s tackle some frequently asked questions about summer typography: What makes a font look summery? Summer fonts typically feature relaxed, flowing letterforms, bright energetic personalities, and often include decorative elements that reference beach, tropical, or vacation themes. They tend to feel casual, approachable, and optimistic. Can I use summer fonts year-round? While some summer fonts are specifically seasonal, many can work year-round with the right warm color palette and supporting design elements. The key is choosing fonts with enough versatility to adapt to different seasonal moods. Are summer fonts professional enough for business use? It depends on your business! Summer fonts are perfect for hospitality, food service, entertainment, and lifestyle brands. However, they might not be appropriate for more conservative industries like finance or healthcare. How do I pair summer fonts with other typefaces? Summer fonts often work well paired with clean, simple sans-serifs for body text. The contrast between a playful summer display font and a readable sans-serif creates visual hierarchy while maintaining that seasonal energy. Making Your Designs Sizzle Summer fonts are more than just typography – they’re instant mood boosters that transform ordinary designs into sunshine-filled experiences. Whether you’re creating a beach resort’s brand identity, designing the perfect festival poster, or crafting social media graphics that capture those golden hour vibes, the right summer font sets the stage for memorable design. Remember, the best summer font isn’t necessarily the most decorative or tropical-looking one. It’s the font that perfectly captures the specific summer mood you’re trying to create while still serving your project’s practical needs. So go ahead, embrace those warm-weather vibes in your next design project. Choose fonts that make people want to kick off their shoes, grab a cold drink, and soak up some vitamin D. After all, life’s too short for boring typography – especially in summer! What’s your favorite summer font? I’d love to hear about the typefaces that make you dream of beach days and endless sunshine! Riley Morgan Riley Morgan is a globe-trotting graphic designer with a sharp eye for color, typography, and intuitive design. They are a color lover and blend creativity with culture, drawing inspiration from cities, landscapes, and stories around the world. When they’re not designing sleek visuals for clients, they’re blogging about trends, tools, and the art of making design feel like home—wherever that may be. 17 Cutest Kawaii Fonts That are So AdorableKawaii fonts are exactly what they sound like – typefaces that embody the Japanese concept of “kawaii” (meaning cute). These...26 Billboard Fonts You Can Read at 80 MPHWhen you’re racing down the highway at 80 mph, you’ve got about 3 seconds to grab someone’s attention with your...40 Christmas Fonts that are ‘Santa-Approved’As a designer with a serious case of Christmas spirit, I can’t help but get giddy when it’s time to...

A U.S. Air Force B-17 'Flying Fortress' bomber flies through the sky.   Image: R. Gates/Hulton Archive/Getty Images Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. A man in Marengo, Illinois, is on a mission to fully restore a World War II-era B-17 bomber—a project he’s been diligently working on in a roadside barn for the past 40 years. A lifelong aviation enthusiast, Mike Kellner began his journey in high school after hearing that a junkyard in Maine was looking to offload the abandoned remains of the historic bomber. The asking price was “$7,000 or best offer” for a collection of disassembled parts. Kellner loaded the 75-foot aluminum behemoth onto a house trailer (he had to extend it by about 10 feet) and hauled it halfway across the country with a pickup truck. It’s lived in his barn ever since. Kellner shared the decades-long story of his restoration project with local outlet WGN earlier this week.  And unlike many World War II-era roadside relics, this one isn’t just collecting dust. Kellner has spent countless hours working to restore the plane to its former glory, performing his own repairs, adding finishing touches, and tracking down an array of rare and hard-to-find parts. Word of his efforts spread, attracting other aviation enthusiasts who have volunteered their time over the years to assist with the restoration. Kellner documents the entire process on a Facebook page, which features thousands of update posts dating back to 2010. He doesn’t just want the project to be something pretty to look at—he wants it to fly. “It is a piece of history, and I would like the opportunity to fly it,” Kellner told WGN. Popular Science reached out to Kellner for more details but has not heard back.  Rebuilding a ‘Flying fortress’  The B-17 was the most iconic bomber used by the US military during the second World War. Its origin actually traces back a decade earlier to 1934, when the Army Air Corps approached Boeing with an ask to design and develop a massive plane capable of carrying bombs at 10,000 feet and for more than 10 hours. The military wanted a new breed of bomber that would be able to travel beyond enemy lines at great distances and drop bombs with precision. It needed to be able to reach altitudes high enough to fly outside of the range of enemy antiaircraft artillery. The eventual B-17 featured a state-of-the-art Norden bombsight to maintain accuracy even at extreme altitudes.  Early versions of the B-17 entered production in 1937, but manufacturing ramped up significantly after the U.S. officially entered World War II in 1941. The bomber that eventually flew missions behind enemy lines featured four engines—a major upgrade from the then-standard two—and was equipped with a smattering of gun turrets, including ones in the nose, upper fuselage, and tail. This cornucopia of munitions, combined with the aircraft’s mammoth size, earned it the nickname “Flying Fortress.” The B-17 currently being resurrected in Kellner’s barn reportedly carries two names. One, “Desert Rat,” is painted in bold yellow lettering on the aircraft’s exterior. The other, “Tangerine,” was discovered later, scrawled somewhere inside the fuselage.It’s unclear how much longer Kellner will need to make his dream of flying the Desert Rat a reality. The task seems like a daunting one for someone working part-time on a shoestring budget but then again, few would have likely predicted he would have made it this far to begin with. You can keep up with all of Kellner’s progress by following his official Facebook page here.

With a background in industrial design, Amanda Schneider explored every aspect of a product’s trajectory early in her career, from concept development to sales, always via a holistic lens to understand the points of view of manufacturers and consumers. Her ideal role, however, was one that emphasized more than just the bottom line. “It clicked the moment I realized that the real magic happens at the intersection of creativity and strategy,” says Schneider. “I believe that data can empower creatives, and creativity can humanize data. And when we bridge that gap? That’s when design starts changing industries, shaping behavior and moving the world forward.” Amanda Schneider Schneider is founder and president of SANDOW DESIGN GROUP’s ThinkLab, and since 2018 she has led the only market research firm focused on the design and architecture ecosystem. She thrives on uncovering unexpected insights and translating them into stories that inspire meaningful action – essential in the ever-evolving world of work. Industry leaders have taken notice, and today Schneider is a recognized thought leader featured on leading platforms. Her 2024 TEDx talk, Work is Broken. Gen Z can help fix it, has more than 400,000 views and counting. She is also host of the hit podcast Design Nerds Anonymous, and has recently introduced BASELINE, the new ThinkLab initiative. This survey and podcast provides a real-time snapshot of industry sentiment and activity. When she’s not on the job, Schneider is a mom to three boys, and can be found chasing adventure in her Jeep Wrangler. It’s not always easy to maintain an ideal balance, but carving out quality time is essential. “If I am being honest, I am not always great at switching off completely, especially because I love what I do,” Schneider notes. “But one small thing that helps is dinner with my family. No laptops, no phones, just real conversation. It sounds simple, but it’s grounding.” Today, Amanda Schneider joins us for Friday Five, sharing her favorite stats for designers! 1. The average designer has 40X the recommendation power as the average American Consumer has buying power. Source: USDIBR That’s not a typo. According to ThinkLab research, designers influence purchasing decisions at 40 times the rate of the average American consumer. And if you work at one of the top 200 Interior Design Giants of Design firms? That number jumps to a staggering 140 times. While most people pick products for their own homes, designers are making choices that affect dozens – sometimes hundreds or thousands – of people at once. One spec. One project. Ripple effects across supply chains, industries, and how people experience space. That kind of power often flies under the radar. But it shouldn’t. Designers aren’t just making things pretty – they’re making decisions with real impact. And when you zoom out, those decisions can shape how sustainably we build, how inclusively we design, and how responsibly we spend. You already have the influence. The opportunity? That’s using it for good. 2. By 2050, the interior design industry will have influence over approximately one-tenth (10%) of the world’s carbon emissions. Yes, you read that right. One-tenth of global carbon emissions – in some way, shape, or form – will be influenced by decisions made in the interior design industry by the year 2050. Not construction. Not just architecture. Interiors. (Shout out to Metropolis Magazine for this stat and their work on the Climate change toolkit!) It’s easy to think of sustainability as someone else’s job – the architect, the engineer, the client. But designers have their hands on the levers that control how long things last, what materials get used, and how to avoid sending product to the landfill. Multiply that by millions of square feet across homes, workplaces, schools, hotels, hospitals – and it adds up fast. Don’t let this overwhelm you. Let it empower you. Designers helped create this world. That means they’re also perfectly positioned to help redesign it for the better. 3. As of 2025, Gen Z makes up 27% of the workforce. That’s more than one in four employees. And they’re not coming – they’re already here. Gen Z is shaping how we work, live, collaborate, and connect. They bring new expectations around flexibility, inclusivity, tech, and well-being. And they’re just getting started. Why does this matter for designers? Because the spaces you’re designing today will still be in use a decade or more from now. If we’re not paying attention to shifting values, behaviors, and ways of working, we risk building environments that don’t resonate – or worse, don’t function – for the people who will actually use them. Designing for the future means understanding who’s going to be living in it. Gen Z is your new end user. Time to listen. 4. The Interior Design Industry is 85% Female – But Only 40% of Its Leaders Are Interior design is one of the few industries that’s not just female-friendly – it’s female-dominated. Nearly 88% of students entering the field are women. And 85% of practicing professionals are, too. But here’s where it gets tricky: only 40% of leadership roles are held by women once we get to the largest firms. That’s a massive drop-off – and a missed opportunity. When the people doing the work don’t have a seat at the table where decisions are made, the entire industry loses out on perspective, insight, and progress. Diversity isn’t just about fairness. It’s about making the industry better, stronger, and more representative of the people it serves; especially when we are leading design for the built environment for all people. The first step? Awareness. The next? Action. 5. The Average Design Committee Has Doubled in Size Over the Past 5 Years Design decisions are no longer made in a room of two or three. In today’s world, the average commercial design project involves double the number of decision-makers it did just five years ago. That means more voices, more complexity – and a whole new set of challenges. And here’s the truth: It doesn’t matter how great your design is if you can’t communicate its value. Great ideas fall flat without buy-in. Beautiful solutions stall out without alignment. Today’s most successful designers aren’t just creative—they’re translators. They bridge the gap between vision and business case, between aesthetics and impact. Good design always starts with empathy. If you want to better understand your clients – and what’s really happening in their world to move projects forward – check out the Design Nerds Anonymous podcast. Catch Schneider’s TED Talk – Work is broken, Gen Z can help fix it – below:

A standalone spin-off from FromSoftware’s incredibly successful yet mostly single-player dark role-playing game Elden Ring, the multiplayer-oriented Elden Ring Nightreign is a curious beast, often feeling like an amalgamation of several different experiences all at once.Each session begins with players, either solo or in teams of three, dropping into a small but dense world, working to urgently gain as much strength as possible as a rapidly closing ring tightens around them – a very Fortnite experience. Rather than other players, they fight a variety of monsters and explore locations lifted directly from the Elden Ring universe. After each match, they also gain upgrade materials to modify future runs and advance the game’s story, similar to a rogue-like game … so it’s a Fortnite/Elden Ring/Hades experience? This is getting complicated.Race against time … Elden Ring Nightreign. Photograph: Bandai NamcoEvery session is an engagingly frantic race against time to craft an on-the-fly strategy that takes you across the whole map. Each match is split into three days: on the first two, you pick areas to rush through, besting local bosses to gain minor buffs to your strength or loot weapons with powerful passive abilities, before escaping the rapidly closing ring that saps your health and is sure to end your run. Each night culminates in a larger and far more challenging fight than you’ve faced thus far, amping up the pressure even further.It’s quite the stressful slog, but day three is what you’re battling towards. As the day dawns, you step into a barren arena, ready to face one of several tough-as-nails mega bosses specifically designed to be tackled by multiple players.Nightreign is overwhelmingly designed for three-person teams. You can choose to head out on your own, but doing so is a severe challenge. There’s no one to get you back up if you accidentally die rolling into a boss’s attack, and many of the enemies designed to be tackled by a team of allies frequently overwhelm you.Best not to tackle this on your own … Elden Ring Nightreign. Photograph: Bandai NamcoUltimately, this is a game all about momentum. The feeling of pressure as you navigate the world is palpable. Every second, you’re constantly questioning yourself: am I wasting too much time by checking what’s around this corner? Can we take down this boss quickly enough to warrant the reward? It’s an incredibly stimulating experience, as you rush to analyse your equipment and make build-defining decisions on the fly, but so much has been modified for the sake of speed that the nuance typical to FromSoftware games is somewhat lost.There’s no choice of stats when levelling up, for example, with levelling now reduced to the mash of a button when you reach a rest point. And while the world has been painstakingly populated with smaller enemies, beyond taking down a couple in the first few seconds of a run to hit level 2, there’s little point engaging with them, since tackling bosses is the main way to get more powerful.This momentum gives Nightreign its “just one more run” feel, but the pace feels more rapid than necessary, reducing much of the world to a distraction that wastes your precious time. It’s also why the bugs present in the review version we played feel particularly frustrating. Spending five minutes tackling a dragon that then flies through a wall and ends up being untargetable feels particularly unfair.One of the more loathed mechanics from the Dark Souls series is the requirement for you to run back to the boss arena every time you die. When this was updated for Elden Ring, allowing you to respawn right outside the arena, fans rejoiced. Yet the Nightreign experience is such an extreme move back in the other direction that it feels almost Sisyphean. Every run requires you to spend around 35 minutes to reach the final boss, but those bosses often have unique mechanics that can wipe out unsuspecting teams in just a couple of hits. Dying to a new move you’ve not seen before, requiring you to spend another 35 minutes rolling that boulder back up the hill, feels grossly disrespectful.Considering the success of Elden Ring in applying FromSoftware’s dense level design ethos to an open world, it’s disappointing that the developer appears to have missed the mark with Nightreign. Where that game iterated, Nightreign takes shortcuts. It is billed as a standalone release, yet so much environmental content is carbon-copied from Elden Ring – often thrown in haphazardly – that the world feels more like a particularly polished fan-created mod than a whole new title.FromSoftware’s experiment in upending its established gameplay formula is admirable, and taking down gargantuan foes alongside friends really adds to the joy you feel at finally besting what at first felt like an insurmountable task. It’s just a shame that the game’s skewed pacing and overreliance on Elden Ring’s pool of assets so greatly mars the experience.

By TREVOR HOGG Images courtesy of Netflix. Unlike North America where episodes tend to be no longer than an hour, it is not uncommon in Britain to have feature-length episodes, which explains why the seasons are shorter. Season 7 of Black Mirror has six episodes with the first sequel for the Netflix anthology series that explores the dark side of technology having a run time of 90 minutes. “USS Callister: Into Infinity” comes eight years after “USS Callister” went on to win four Emmys as part of Season 4 and expands the tale where illegally constructed digital clones from human DNA struggle to survive in a multiplayer online video game environment. Returning creative talent includes filmmaker Toby Hayness, writers Charlie Brooker and William Bridges, and cast members Cristin Milioti, Jimmi Simpson, Osy Ikhile, Milanka Brooks, Paul Raymond and Jesse Plemons. Stepping into the Star Trek-meets-The Twilight Zone proceedings for the first time is VFX Supervisor James MacLachlan, who previously handled the digital augmentation for Ted Lasso. “[For the planet where the digital clone of James Walton is found]… We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine. The copper mine was absolutely stunning. … You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. … It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” —James MacLachlan, Visual Effects Supervisor Taking advantage of the reflective quality of the bridge set was the LED wall utilized for the main viewscreen. Dealing with a sequel to a critically-acclaimed episode was not a daunting task. “It’s almost like I have a cheat code for what we need to do, which I quite like because there’s a language from the previous show, so we have a certain number of outlines and guidelines,” MacLachlan states. “But because this was set beyond where the previous one was. it’s a different kind of aesthetic. I didn’t feel the pressure.” No assets were reused. “We were lucky that the company that previously did the USS Callister ship packaged it out neatly for us, and we were able to take that model; however, it doesn’t fit in pipelines anymore in the same way with the layering and materials. It was different visual effects vendors as well. Union VFX was smashing out all our new ships, planets and the Heart of Infinity. There was a significant number of resources put into new content.” Old props were helpful. “The Metallica ship that shows up in this episode is actually the Valdack ship turned backwards, upside down, re-textured and re-modeled off a prop I happened to wander past and saw in Charlie Brooker’s and Jessica Rhoades’ office.” MacLachlan notes. Greenscreens were placed outside of the set windows for the USS Callister. “USS Callister: Into Infinity” required 669 visual effects shots while the other five episodes totaled 912. “Josie Henwood, the Visual Effects Producer, sat down with a calculator and did an amazing job of making sure that the budget distribution was well-weighted for each of the scripts,’ MacLachlan remarks. “We shot this one third and posted it all the way to the end, so it overlapped a lot with some of the others. It was almost an advantage because we could work out where we were at with the major numbers and balance things out. It was a huge benefit that Toby had directed ‘USS Callister’. We had conversations about how we could approach the visual effects and make sure they sat within the budget and timeframe.” Working across the series were Crafty Apes, Jam VFX, Jellyfish Pictures, Magic Lab, One of Us, Stargate Studios, Terraform Studios, Union VFX, and Bigtooth Studios.  “We had a spectrum of vendors that were brilliant and weighted so Union VFX took the heavy load on ‘USS Callister: Into Infinity,’ One of Us on ‘Eulogy’ and Jam VFX on ‘Hotel Riverie’ while the other vendors were used for all the shows.” “[W]e had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace, outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.” —James MacLachlan, Visual Effects Supervisor Miranda Jones looked after the production design and constructed a number of practical sets for the different sections of the USS Callister. A clever visual effect was deployed when a digital clone of Robert Daly (Jesse Plemmons) is in his garage crafting a new world for Infinity, which transforms from a horizontal landscape into a spherical planetary form. “A lot of it was based off current UI when you use your phone and scroll,” MacLachlan remarks. “It is weighted and slows down through an exponential curve, so we tried to do that with the rotational values. We also looked at people using HoloLenses and Minority Report with those gestural moments. It has a language that a number of people are comfortable with, and we have gotten there with AR.” Union VFX spent a lot of time working on the transition. “They had three levels of detail for each of the moments. We had the mountain range and talked about the Himalayas. Union VFX had these moments where they animated between the different sizes and scales of each of these models. The final one is a wrap and reveal to the sphere, so it’s like you’re scaling down and out of the moment, then it folds out from itself. It was really nice.” For safety reasons, weapons were digitally thrown. “We had a 3D prop printed for the shuriken and were able to get that out in front of the camera onstage,” MacLachlan explains. “Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible, so it worked well. Cristin did a convincing job of yanking the shuriken out. We added some blood and increased the size of the wound on her top, which we had to do for a couple of other scenes because blood goes dark when its dry, so it needed to be made redder.” Nanette Cole (Cristin Milioti) throws a ceremonial knife that hits Robert Daly directly in the head. “That was a crazy one. We had the full prop on the shelf in the beginning that she picks up and throws. The art department made a second one with a cutout section that was mounted to his head. Lucy Cain [Makeup & Hair Designer] and I constructed a cage of hair clips and wire to hold it onto his head. Beyond that, we put tracking markers on his forehead, and we were able to add all of the blood. What we didn’t want to do was have too much blood and then have to remove it later. The decision was made to do the blood in post because you don’t want to be redressing it if you’re doing two or three takes; that can take a lot of time out of production.” “USS Callister: Into Infinity” required 669 visual effects shots. A digital clone of Robert Daly placed inside the game engine is responsible for creating the vast worlds found inside of Infinity. “We had a 3D prop printed for the shuriken [hidden hand weapon]… Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible… Cristin did a convincing job of yanking the shuriken out.” —James MacLachlan, Visual Effects Supervisor A cross between 2001: A Space Odyssey and Cast Away is the otherworldly planet where the digital clone of James Walton (Jimmi Simpson) is found. “We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine,” MacLachlan recounts. “The copper mine was absolutely stunning. It’s not as saturated. You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. We found moments that worked for the different areas. It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” The blue teleportation ring was practically built and digitally enhanced. Set pieces were LiDAR scanned. “What was interesting about the ice planet [was that] the art department built these amazing structures in the foreground and beyond that we had white drapes the whole way around, which fell off into darkness beautifully and naturally because of where the light was pulled by Stephan Pehrsson [Cinematographer],” MacLachlan states. “On top of that, there was the special effects department, which was wafting in a lot of atmospherics. Some of the atmospherics were in-camera and others were augmented to even it out and boost it in places to help the situation. We did add foreground snow. There is a big crane shot in the beginning where Unreal Engine assisted in generating some material. Then we did matte painting and set extensions beyond that to create a larger scale and cool rock shapes that were on an angle.” The jungle setting was an actual location. “That’s Black Park [in England], and because of the time of year, there are a lot of protected plants. We had a couple of moments where we weren’t allowed to walk in certain places. There is one big stunt where Nanette steps on a mine, and it explodes her back against a tree. That was a protected tree, so the whole thing was wrapped in this giant stunt mat while the stunt woman got thrown across it. Areas would be filled in with dressed plants to help the foreground, but we got most of the background in-camera. There were bits of clean-up where we spotted crew or trucks.” Large-scale and distinct rock shapes were placed at an angle to give the ice planet more of an alien quality. An exterior space shot of the USS Callister that is entirely CG. Twin versions of Nanette Cole and James Walton appear within the same frame. “Literally, we used every trick in the book the whole way through. Stephan and I went to see a motion control company that had a motion control camera on a TechnoDolly. Stephan could put it on his shoulder and record a move on a 20-foot crane. Once Stephan had done that first take, he would step away, then the motion control guys would do the same move again. You get this handheld feel through motion control rather than plotting two points and having it mechanical. You get a wide of a scene of clone Nanette in a chair and real Nanette standing in white, and you’ll notice the two Waltons in the background interacting with one another. Those shots were done on this motion control rig. We had motion control where we could plot points to make it feel like a tracking dolly. Then we also had our cameraman doing handheld moves pushing in and repeating himself. We had a wonderful double for Cristin who was excellent at mirroring what she was achieving, and they would switch and swap. You would have a shoulder or hair in the foreground in front of you, but then we would also stitch plates together that were handheld.” The USS Callister approaches the game engine situated at the Heart of Infinity. A homage to the fighter cockpit shots featured in the Star Wars franchise. USS Callister flies into the game engine while pursued by other Infinity players. A major story point is that the game engine is made to look complex but is in fact a façade. A copper mine served as the location for the planet where the digital clone of James Walton (Jimmi Simpson) is found. Principal photography for the jungle planet took place at Black Park in England. The blue skin of Elena Tulaska (Milanka Brooks) was achieved with practical makeup. Assisting the lighting were some cool tools such as the teleportation ring. “We had this beautiful two-meter blue ring that we were able to put on the ground and light up as people step into it,” MacLachlan remarks. “You get these lovely reflections on their visors, helmets and kits. Then we augmented the blue ring in visual effects where it was replaced with more refined edging and lighting effects that stream up from it, which assisted with the integration with the teleportation effect because of their blue cyan tones.” Virtual production was utilized for the main viewscreen located on the bridge of the USS Callister. “In terms of reflections, the biggest boon for us in visual effects was the LED wall. The last time they did the big screen in the USS Callister was a greenscreen. We got a small version of a LED screen when the set was being built and did some tests. Then we had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace or outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.”