Fairphone seems to be drawing inspiration from the CMF Phone 1.

Lyse Martel is a Berlin-based “Color, Materials, and Finish” (CMF) designer and strategist in the mobility and consumer electronics industries. Her work combines craftsmanship and emerging technology to shape design strategy, drive material innovation, and create new sensory experiences. Lyse is fascinated by design’s power to shape how people feel and act. She believes design can foster emotional connection and wellbeing at a time when AI and automation are making their way into many new consumer product experiences, from the car to the living room. Below, Martel explores the emotional dimension of circular design and how the CMF field is evolving to meet the global challenges of circularity and sustainability. Fast Company: Please introduce yourself to our readers.Lyse MartelLyse Martel: I’m Lyse Martel, a CMF designer and design strategist, working primarily in automotive and consumer electronics. CMF, which stands for Color, Materials, and Finish, is about how a product looks, feels, and connects emotionally. So my work focuses on those elements as well as on strategy, brand identity, and sustainability. Although I mainly work in automotive and consumer electronics, CMF can apply to many different areas. Over the years I’ve worked with brands like Bang & Olufsen, Hopium, and NIO. And most recently I was directing a circular design project at Volkswagen Group—designing for circularity from the start with a large team of designers from different disciplines. How did you find your way into this field? It was step by step. My love for design was always there, even before I knew what to call it. It was shaped by my family’s craftsmanship, as well as my own curiosity for shapes, textures, colors, and sensory experiences. On my father’s side, I grew up around a lot of woodworking and carpentry. And on my mother’s side are generations of tailors. So that gave me an appreciation for textiles and textures and detailing and crafts. And I’ve always loved illustration and drawing and building small architectures with natural elements—everything that could involve materials and aesthetics. And I think that brought me to materiality and storytelling and eventually to CMF design. Were you able to find an educational path that encouraged your interests? I went to a specialized high school for applied arts and design, where I grew immensely as a creative person, and had a teacher who supported me and saw my potential with conceptual thinking. At university another teacher encouraged me to apply to a design internship in the automotive sector in Paris, and that’s how I formally entered the CMF design field. I was immediately drawn to the innovation and complexity of using material and color to shape the brand identity for a mobility project. [Photo: Lyse Martel]How do you stay on top of trends in color and material?Much of it is intuitive, but we also learn to connect the dots and see trends. I’m very much inspired by psychology and by what’s going on in the world—anything that could possibly impact human experiences and emotions. I’m paying attention to developments in architecture, interiors, digital and physical design, and material innovation. I’m also looking at global trends that have nothing to do with the design industry, including culture and the natural world. Nature plays a big role because you can look at how light interacts, how materials evolve with time, the functioning of ecosystems, and agriculture. I’m also very interested in how CMF design intersects with concepts like wellbeing and happiness, so I follow influential practitioners like Ivy Ross from Google, and Susan Magsamen, who works on neuroaesthetics, and Carol Gilligan, the psychologist and philosopher. Could you share more about neuroaesthetics? Neuroaesthetics looks at how design makes people feel: how beauty and art and design influence our brain, and how things like color, textures, light, and sound make us react cognitively or emotionally. We know that certain visual experiences will calm or excite us, while others make us feel uncomfortable. Designers can leverage those insights to create more meaningful and intuitive interactions. I’ve always been fascinated by how design makes people feel, and neuroaesthetics gives us the scientific reasoning behind those ideas. For instance, when I’m working with color and material for a car interior, I can decide to craft a more calming atmosphere with natural materials, or use soft lighting or a color gradient that can guide the user’s eye. I can think about how textures and tactility will influence the user’s feeling of comfort, or their perception of product quality or durability. When it comes to sustainability, there are a lot of materials that may not be readily acceptable to a user. In that case it can be helpful to lean into the authenticity of that material, perhaps by making it warmer or softer, or relating it to nature through colors or grain. So if we can somehow elevate or upscale the experience with that material, then we can start to shift the mindset to embrace sustainable materials or choices. Earlier you mentioned your work in circular design. Could you share more about that? Circular design is rethinking how we create and use products. It means designing for longevity, adaptability, and regeneration. We seek out the right materials, we design for easy reuse and repair, and we try to ensure that the product stays in circulation for as long as possible. Longevity is the number one criteria, because the longer you use a product, the less impact it has in terms of greenhouse gas emissions and other waste metrics. With circularity do you encounter pushback from industries that simply need consumers to keep buying more stuff? It does clash with short-term profit models, so it’s not easy for businesses to embrace it completely. But there is momentum for circular design, which is driven by consumer expectations, tighter regulations, and a growing recognition that resource efficiency is also smart business. I’ve seen mobility and consumer electronics firms try out concepts like modularity, repairability, and designing with disassembly in mind. Neuroaesthetics seems to be a strategy for tapping into people’s innate preferences for certain colors, materials, and finishes. But could also instigate behavior change, by tapping into the emotional layer of circularity? Absolutely, it can be surprisingly comforting, even if the materials are unexpected. When designing a circular product, you’re often working with waste, like a polymer that’s meant to circulate between cars. The challenge is making that material feel good, both emotionally and physically. What works is embracing the material’s character, maybe it has a soft texture or a slight irregularity, like a grain or uneven thread. Or it comes in a natural color that feels ultra-fresh. These little details shift the focus from what it is to how it makes you feel. You might not even realize it’s recycled plastic, but it just feels right. Sometimes, a car interior can feel like a cozy cabin, all because of the right textures and tones. That emotional layer is what really connects circularity.How could neuroaesthetics help make people comfortable with something new, like self-driving cars? It’s really about how shapes, colors and textures support the digital experience; all the micro-details working together to help the user feel at ease. I’ve been testing self-driving vehicles recently, and it’s surprising how much the environment impacts your reaction. In one case, the layout was minimal, with just the right number of buttons, and that simplicity helped me relax. But I also tested a car that was entirely gray, and it felt dull and dated. Light tones or soft gradients, something that evokes a sunrise or sunset, can go a long way in making the space feel more inviting.With automation, trust becomes a key part of the brief. How easily will someone understand what’s happening? Are they okay letting go of the wheel? That’s where CMF design needs to be fully integrated. I have to work closely with the interior and UX designers so that everything speaks the same language. If I propose a soft, natural palette and the shapes are cold or aggressive, it creates a disconnect.[AI Image: courtesy Lyse Martel]Can you share how you use AI in your work, or how AI factors into the CMF design process? It’s part of my creative process in that it helps me visualize materials, colors, and sensory experiences I’m considering for a project. It’s a great way to communicate an idea visually, and also to put it out there so someone else can pick it up and build on it. So for me, it’s really a tool that helps us be more precise in how we express and share ideas.There are also really promising use cases in circular design, where AI can help us map local resources and integrate them more intelligently into products. For example, there’s a lot of bamboo in China, linen in the north of France, or paper waste around Berlin. So what can we do with that knowledge? We can see where materials are available, but also think about how to reduce waste, predict life cycles, or imagine new reuse scenarios. Anything that involves localizing or optimizing can be supported by AI.And as the digital world increasingly shapes the physical one, I think there’s real potential in using these new, hyper-sensory AI-generated visuals to inspire physical experiences. Neuroaesthetics helps us design for emotion, and AI can help translate those emotional cues into visual concepts that, when made real, feel meaningful and multi-sensory. Do you ever get any pushback for the decisions that you or your team might make as CMF designers? Sometimes there’s a strong reaction to a particular color or material choice. I remember working on a concept car called Eve, developed with a strong focus on emerging markets and innovative design languages. I proposed an exterior in a rose gold tone, which could be read as pink. That sparked some discomfort in the room. I think it challenged certain expectations of what a car should look like, especially in Western automotive culture. But in China, rose gold is often associated with refinement and quality. It’s not seen as gendered in the same way. So for me, it was an opportunity to bring a fresh, culturally relevant aesthetic into the project. I understood the hesitation, but that’s part of the role. Sometimes CMF invites us to gently shift the visual language and open up new emotional possibilities.[Image: Felix Godard Design]Are there certain colors and finishes that are timeless and others that are more transitory? In the last decade we used a lot of neutrals, like beige and gray. Many brands also decided to shape themselves around their core colors—“our black,” “our white,” etc. And they would build up from there to include more exciting colors into their identity. Today I see those approaches being challenged. Gen Z is coming in and they have other ideas about what’s fresh. In the past few years we saw a lot of yellows. Recently, dark reds have been popping up everywhere, and they’re a powerful, timeless choice that adds richness and sophistication. These colors grab attention and can work well, but we need to be mindful of their relevance for long-term products.I believe there is still a need for that core timelessness. You might use black as a core color, but you might tint it blue to make it more interesting or less intense. When I was at Bang & Olufsen, we often discussed how to stand out from typical black consumer electronics. For a more lifestyle-oriented, subtle design in the home, why not use gray?[Image: courtesy NIO]Are you ever surprised when a particular color takes off? The latest Pantone color of the year is a brown-beige shade, which honestly surprised me. I’ve used warm grays before when I wanted to give a product a cozier, inviting feel, but this one doesn’t feel as fresh to me. I’m not sure it resonates with the moment in the same way other trends do. I love when a heritage brand takes an unexpected turn, like the paper company GF Smith, which recently rebranded with vibrant, poppy colors and introduced a bespoke, rounded sans-serif typeface, GF Smith Homie. I like to see they are brushing off the history to embrace different values and just be human. They want to stand for inclusivity, so they’re going to speak up about that and make sure it’s seen in the brand.Where do you draw creative inspiration? It’s really what makes me burn, what is calling my heart. I also need to talk to people—not only creatives, but people from all walks of life. I enjoy traveling through my city and looking at how people live. I learn a lot simply from riding the train, overhearing conversations, and observing how the mood changes with the seasons. I also read the news and check out certain magazines. There’s one I like, Imagine5, that focuses on how to make sustainability joyful. It explores that from all angles and it’s very accessible. You don’t have to be a sustainability expert to enjoy it. [Image: courtesy NIO]Could you share some of the projects you’ve worked on that you’re most proud of? I joined the global smart EV brand NIO in its early stages, when the brand vision was still taking shape, and contributed to the initial direction of color, materials, and finishes as part of the design team. The objective was to align with their vision of “Blue Sky Coming,” so we had to come up with progressive aesthetics and human-centered design, which later evolved into design principles. Shaping that brand was extremely rich for me in terms of learning and collaborating with so many talented designers. I also led a couple of projects – one was the previously mentioned concept car called Eve. I had the opportunity to introduce more natural materials and different colors that were not commonly used in the automotive space.Introducing new aesthetics became an important theme for my later work with Bang & Olufsen, which was about connecting the dots between sound and material and design. And then more recently, the circularity project I’ve been leading for Volkswagen Group is really close to my heart. The brief was to introduce longevity, adaptability, and recyclability across all design touch points for Volkswagen. To that end we provided creative direction that considered everything from exterior design, interior, user experience, and materiality.It was an interesting challenge to find the emotional layer of circularity, while staying on brand for Volkswagen. Circularity has a lot of very technical aspects, but as designers we can make circularity tangible. How do you deal with mistakes or failure in the creative process? I view mistakes or failure as an opportunity to test more, to rethink, and to reframe. If a design doesn’t work, how can we regroup and find a solution that’s way more interesting and beyond the obvious? In the creative process there can be a lot of fear associated with going against the grain. What I’ve noticed is that if we stay in that fear space, we close ourselves off to opportunities. It’s important to be in an open space of creativity and curiosity. Allow mistakes and failure to happen. When there is joy in the process and a strong intuition, you produce better results in the end. What advice would you give to aspiring designers, but also anyone who wants to enter the world you inhabit? Great design comes from a constantly growing and inspired mind. Stay curious and know that inspiration comes from everywhere. Embrace your uniqueness, but also be able to evolve from that. Be open to change and to new perspectives. There will be tough feedback and creative disagreements, but the important thing is how you receive those situations. Maintain a mindset of abundance and try to see the positive in anything you do. Finally, as creatives it’s important for us to take time alone to recharge, to reflect, and to work on our magic. When you’re feeling well and thriving individually, your creativity also does. At that point it’s crucial to rejoin the collective, where you have a chance to collaborate and experience the diversity of perspectives that fuels creativity. It can be a tough road for aspiring designers, but I would encourage them to proceed with care and openness, and to leave their fears behind. 

Submitted by WA Contents Design Shanghai 2025 will explore the power of human-centric design in June China Architecture News - May 26, 2025 - 04:19   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Asia’s leading design show, Design Shanghai, has announced its 12th edition, which will explore the notion of design for humanity. The Shanghai World Expo Exhibition Center will host Design Shanghai 2025 from June 4–7. The annual event has been dedicated to bridging the gap between Eastern and Western design for twelve years. It features both known and up-and-coming companies and brands, as well as the top local and international designers. This year, more than 80,000 professionals are anticipated to attend Design Shanghai, which will feature top companies from more than 30 countries and regions. Attendees can expect an unmatched chance to experience the ingenuity and impact of top-tier design. Over 640,000 professionals and more than 2,600 design brands from around the world have visited Design Shanghai to date, demonstrating the expansion and integration of China's design strength.The World Architecture Community is an official media partner of Design Shanghai."Over the past 12 years, Design Shanghai has grown while remaining youthful at heart, consistently embracing ever-evolving challenges with unwavering commitment. At the same time, we stay true to our original mission of being a bridge for East-West design exchange," said  Zhuo Tan, Event Director, Design Shanghai. "This year, we will place greater emphasis on human-centred design, making the exhibition more personal and meaningful, and exploring—and perhaps even reaching a consensus on—a fundamental question: Through design, where are we heading, and how should we act?." "We look forward to a truly memorable gathering this June," Tan explained.Image by BuloImage by VitraWith more than 600 carefully chosen design products spread throughout its four sections, Design Shanghai 2025 will provide an insight into the latest innovations and trends in the field. Modern designs in furniture, lighting, kitchens, bathrooms, and systems will be showcased in Section 1 (Furniture & Lighting) and Section 2 (Kitchen, Bathroom & Systems Design). Renowned brands like Bulo, Formitalia, RS Barcelona, Vitra, Lalique, Miyazaki Chair Factory, NEKOSpACE, and Antoniolupi Design Made in Italy will be showcasing their most recent collections. The best of Spanish design, such as Viccarbe, Porcelenosa, and LFZ Lamps, will be showcased by the Spanish Institute for Foreign Trade (ICEX). Luxury appliance manufacturers Liebherr, JUNG, Lantex, and Colmo will be on display, along with high-end brands like LAUFEN, Villeroy & Boch, and GORENJE, showcasing their creative solutions.Image by Villeroy & BochImage by Ultrasuede®In the New Materials & Applications Section (3), top companies such as Mapei, Burgeree, Spralding, and Ultrasuede®, as well as Italian designers Florim, SICIS, and Tecnografica, will showcase sustainable innovations.In addition to luxury design brands that specialize in fine porcelain, glassware, tableware, and high-end home accessories like Herend, Lomonosov, Sabre Paris, Cutipol, La Rochere, Sezzatini, Timon Luxury, and CreArt, Section 4: Living & Lifestyle Design will have brands like Reflections Copenhagen, Aynsley, Pro-Ject, and Vilca that will display exquisite craftsmanship.TALENTS from 2024 editionTo produce one-of-a-kind design experiences, Design Shanghai will once more collaborate with top design and creative studios. Frank Chou, the curator of TALENTS, will return with his mission to support the developing creative potential of upcoming designers. Chen Min and Neooold, a fusion of art, craft, and design based on China's abundant traditional handicrafts and materials, are also returning to Design Shanghai.Materials First by Chris Lefteri will also make a comeback with an interesting interactive experience. Additionally, Zhang Lei's materials aesthetics trend exhibition Re: Materialize and Beyond Craft Japan, which explores Japanese beauty via materials and workmanship, will be open to visitors.Image by Made in JDZAdditionally, two brand-new features—Collectible Design & Art and Made in JDZ, which are curated by Ran Xiangfei—will highlight the brilliance of limited edition designs and the elegance of Jingdezhen's handmade craftsmanship. Both provide unique chances to encounter the most cutting-edge and progressive concepts from the design industry.Image by Koseido (Beyond Craft Japan)Design for HumanityThree significant speaker conferences will also be included in the 2025 edition: the CMF Conference, the Design for Wellbeing Conference, and the Global Design Conference with the topic "Design for Humanity." Exhibitors will have unique networking opportunities to interact with well-known designers and business executives at these conferences.Highlights of the speakers include: Ole Scheeren, Chief Designer, Buro Ole Scheeren; Satoshi Ohashi, Director (China), Zaha Hadid Architects; Paul Priestman, Chairman and Creative Director, PULI Innovation; Robert Greenwood, Partner, Director for Asia Pacific, Snøhetta; Changrui FU, Associate Partner, MAD; and Craig Miller, Partner and Project Leader, Heatherwick Studio.Register to Design Shanghai via this link. All images courtesy of Design Shanghai.> via Design Shanghai

Versatility and thoughtful engineering meet in Chameleon Furniture, a 2-in-1 transformable piece designed with the unique adaptability of a chameleon in mind. Made entirely of iron, this innovative furniture concept doesn’t just change in form; it transforms to suit a space’s shifting needs with seamless precision. The Chameleon Furniture lives up to its name, not just in concept but also in execution. Much like its namesake, this furniture piece changes its appearance and function to suit different needs and surroundings. With a minimalist yet industrial aesthetic, it cleverly reimagines how a single design can morph into entirely different forms, serving both as a desk and a storage unit. Designer: Heeyeol Yang At its core, the design is rooted in simplicity and efficiency. The structure is composed of four iron plates and four screws, which are the only tools required for transformation. These components are cleverly engineered to form a modular system that allows the user to switch between furniture types quickly and without hassle. When arranged one way, the iron frames come together to form a sturdy desk, suitable for work or dining. When rearranged and secured in an upright position, the same elements become a storage unit with ample room for books, essentials, or decorative items. This clever duality doesn’t just save space, it makes the furniture more engaging, prompting users to interact with and personalize their living environments more fluidly. The organic movement between functions reflects the philosophy of design that prioritizes adaptability without sacrificing style or strength. One of the most compelling aspects of Chameleon Furniture is its coupling structure. With just four screws securing four iron plates, the transformation process becomes intuitive and accessible, even for users with little to no experience in assembling furniture. This design promotes a DIY-friendly approach, perfect for modern consumers who value ease and immediacy. The table-type configuration involves stacking the frames horizontally and fixing them in place with screws, creating a clean, flat surface ideal for any tabletop use. Meanwhile, the storage configuration requires raising the top frame vertically to create open shelving space. In both cases, the stability of the structure is ensured with the same minimalist screw system, proving that a simple mechanism can support complex functions. Adding to the Chameleon Furniture’s ecosystem is the IPO Vase—an accessory that extends the functionality and aesthetics of the core furniture unit. Short for Incomplete Peg Object, the IPO Vase is created using a combination of 3D-printed filament and steel. This combination of contrasting materials, soft and precise filament with hard and industrial steel, creates a peg-based object that’s not only visually intriguing but also adds an element of customization to the furniture. The IPO Vase can be affixed to the Chameleon Furniture as a decorative or functional element, such as a planter or small container. Its CMF (Color, Material, Finish) sensibility enhances the visual texture and material play of the overall design, making the furniture more expressive and expandable based on user preferences. The post This Sleek DIY Iron Piece Transforms from Stylish Desk to Smart Storage in Minutes first appeared on Yanko Design.

A new contest is underway, inviting designers and 3D printing enthusiasts to create custom accessories for the CMF Phone 2 Pro, a modular smartphone from CMF by Nothing. Organized in partnership with Czech based 3D printer manufacturer Prusa Research, the contest focuses on designs that enhance the phone’s appearance, functionality, or usability. Open for another 22 days, the contest allows each participant to submit up to five entries.  At the time of writing, 225 submissions have been received. Designers are encouraged to develop back covers, attachments, or other accessories that align with the CMF Phone 2 Pro’s structure. The phone features visible screws and a universal adaptor, making it compatible with a range of physical modifications. “We’ve teamed up with our friends at Prusa to launch a design challenge built around CMF Phone 2 Pro and its all-new Universal Cover. The best of the best will be able to bring their design to life with a brand new CMF Phone 2 Pro and Original Prusa MK4S 3D printer. Plus more prizes up for grabs,” said the CMF team. Phone Stand for CMF Phone 2 PRO. Photo via user GRZ Design/Printables. “Make tech fun” with 3D printing Entries may focus on convenience, additional features, or purely visual elements, but only accessories tailored to the CMF Phone 2 Pro will be accepted. General-purpose phone stands or unrelated designs do not qualify. To ensure accessibility, CMF has provided all the necessary files, measurements, and design references for those who don’t own the device. Prizes for the Top Three Entries: 1st Place: Original Prusa MK4S Kit and CMF Phone 2 Pro 2nd Place: CMF Phone 2 Pro, CMF Buds Pro 2, and 1200 Prusameters 3rd Place: CMF Phone 2 Pro and 800 Prusameters This isn’t the first time CMF by Nothing has involved the maker community. Last year, the brand collaborated with Chinese desktop 3D printer manufacturer Bambu Lab on a similar initiative focused on the CMF Phone 1. That contest, hosted on MakerWorld, asked designers to create custom components for the phone’s modular design. Participants had access to STEP files and technical specs to assist in the development of precise designs. The 2024 contest recognized winners in three categories: Best Functional, Best-Looking, and Most Unexpected. Judges included creators from the 3D printing space such as 3D Printing Nerd and Unnecessary Inventions, along with Nothing Co-Founder Akis Evangelidis, who emphasized the company’s commitment to co-creation with its user base. Building on that approach, the new contest continues CMF’s engagement with the design and 3D printing community, this time hosted on Printables.com, where users can find entry guidelines, design files, and current submissions. The Ultimate Magnetic Camera Cage for CMF Phone 2 PRO. Photo via user 3D Kimba/Printables. Shaping mobile accessories with 3D printing With 3D printing increasingly shaping how mobile accessories are developed, companies have started turning to open design challenges and in-house production to rethink both customization and manufacturing. Accessories company Incase and 3D printer manufacturer Carbon entered a multi-year R&D partnership to develop and mass-produce 3D printed mobile device protectors using Carbon’s Digital Light Synthesis (DLS) technology. As part of the deal, Incase gained access to 20 Carbon M2 printers, proprietary software, and exclusive rights to co-brand products made with the process.  The protectors were designed with complex lattice structures and new elastomers that offer enhanced impact protection in a lightweight form. This partnership also streamlined design and production, enabling faster iteration, reduced prototyping, and on-demand manufacturing Elsewhere, Netherlands-based 3D printer manufacturer Ultimaker kicked off a contest inviting users to design accessories for the OnePlus One smartphone and share them on Youmagine. In just a week, the platform saw a wave of submissions, with several downloadable designs quickly appearing online.  To make things interesting, Ultimaker offered participants a chance to win either an Ultimaker 2 or a OnePlus One. Once the entry period ended, the public helped narrow down the field by voting for their favorites. From those finalists, judges from both Ultimaker and OnePlus chose the top three winning designs. Take the 3DPI Reader Survey — shape the future of AM reporting in under 5 minutes. What 3D printing trends should you watch out for in 2025? How is the future of 3D printing shaping up? To stay up to date with the latest 3D printing news, don’t forget to subscribe to the 3D Printing Industry newsletter or follow us on Twitter, or like our page on Facebook. While you’re here, why not subscribe to our Youtube channel? Featuring discussion, debriefs, video shorts, and webinar replays. Featured image shows phone stand for CMF Phone 2 PRO. Photo via user GRZ Design/Printables.

Submitted by WA Contents Design Shanghai will be held from 4 to 7 June 2025 in Shanghai China Architecture News - May 23, 2025 - 13:48   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Asia's premier design exhibition and one of the most prominent international design events in the world is Design Shanghai. It has been crucial in forming China's dynamic design scene by consistently pushing the envelope.Design Shanghai will be held from 4 to 7 June at the Shanghai World Expo Exhibition & Convention Center, Shanghai, China. With four main sections—Furniture & Lighting, Kitchen & Bathroom & Systems Design, New Materials & Applications, and Living & Lifestyle—Design Shanghai 2025 will introduce a brand-new concept. These sections will collectively feature more than 600 carefully chosen design objects from over 30 nations and locations, providing an insight into the newest developments in the field.TALENTS, Neooold, Re:Materialize, Made in JDZ, Beyond Craft Japan, Collectible Design & Art, and Materials First are the seven specially selected elements that will be showcased at the event. In addition, more than 200 design visionaries will come together to exchange ideas at three important forums: the CMF Conference, the Design for Wellbeing Conference, and the KOHLER·Design Shanghai Global Design Conference.Design Shanghai promises an unmatched chance to fully immerse oneself in the innovation and influence of top-tier design, with over 80,000 professional visitors anticipated.The World Architecture Community is official media partner of Design Shanghai.Top image courtesy of Design Shanghai.> via Design Shanghai

In context: Noctua is mostly known for its fans, CPU heatsinks, and other cooling products for computing devices. The Austrian company also cooperates with third-party peripheral and GPU manufacturers, though its latest partnership is likely the most unusual so far. Noctua is putting a 4x4 cm (1.57 x 1.57 inches) fan inside a competitive gaming mouse made by Pulsar Gaming Gears. The Korean peripheral manufacturer announced the oddity ahead of Computex, promising that the new mouse would be demoed during the computer hardware show held in Taipei, Taiwan. Noctua is well-known for the "exceptional" cooling performance of its fans, Pulsar stated, while gamers – and competitive gamers in particular – are prone to sweating during esports events. The Asian manufacturer is therefore equipping its pre-existing Feinmann gaming mouse with a tiny Noctua fan, so that gamers can be comfortable even in the heat of the most ferocious (e)battles. Pulsar didn't have to reinvent the wheel, as the Feinmann already includes a very light shell riddled with holes. The Feinmann F01 is an ultra-lightweight gaming mouse weighing just 46g, providing all the features a competitive player would expect, including an 8,000Hz polling rate, a 32,000 DPI sensor, a "fast" 8K docking charger, and more. Thanks to the newly embedded Noctua fan, gamers buying the new Feinmann model can expect their hands to be constantly cool. Even users with particularly sweaty grips should enjoy a more comfortable gaming experience. We would very much like to test Pulsar's statements while replaying Doom Eternal's DLC 1 during summer months, just to be absolutely sure it really works the way the manufacturer says. // Related Stories Some Computex attendees say the Noctua-powered Feinmann mouse is indeed comfortable and the additional air flow keeps palms cool. Pulsar's product doesn't appear to be just a gimmick, though the specs are clearly being affected by the new fan. The mouse weight is now a bit higher (65g), while battery life should be around 10-11 hours. Pulsar said the mouse is still a prototype, so battery life and other specs are "preliminary." Modern wireless mice can go on for hundreds of hours on a single charge, so we're curious to know how the final product will turn out. The standard version of the Feinmann F01 Gaming Mouse is currently on sale at $180, so we expect the new model will cost more than that.

The cobbled streets and centuries-old university halls of Leuven recently served as a picturesque backdrop for the Materialise 3D Printing in Hospitals Forum 2025. Belgium’s Flemish Brabant capital hosted the annual meeting, which has become a key gathering for the medical 3D printing community since its launch in 2017. This year, 140 international healthcare professionals convened for two days of talks, workshops, and lively discussion on how Materialise’s software enhances patient care. The Forum’s opening day, hosted at Leuven’s historic Irish College, featured 16 presentations by 18 healthcare clinicians and medical 3D printing experts.  While often described as the future of medicine, personalized healthcare has already become routine in many clinical settings. Speakers emphasized that 3D printing is no longer merely a “cool” innovation, but an essential tool that improves patient outcomes. “Personalized treatment is not just a vision for the future,” said Koen Peters, Executive Vice President Medical at Materialise. “It’s a reality we’re building together every day.” During the forum, practitioners and clinical engineers demonstrated the critical role of Materialise’s software in medical workflows. Presentations highlighted value across a wide range of procedures, from brain tumour removal and organ transplantation to the separation of conjoined twins and maxillofacial implant surgeries. Several use cases demonstrated how 3D technology can reduce surgery times by up to four times, enhance patient recovery, and cut hospital costs by almost £6,000 per case.      140 visitors attended the Materialise 3D Printing in Hospitals Forum 2025. Photo via Materialise. Digital simulation and 3D printing slash operating times  Headquartered a few miles outside Leuven’s medieval center, Materialise is a global leader in medical 3D printing and digital planning. Its Mimics software suite automatically converts CT and MRI scans into detailed 3D models. Clinicians use these tools to prepare for procedures, analyse anatomy, and create patient-specific models that enhance surgical planning. So far, Materialise software has supported more than 500,000 patients and analysed over 6 million medical scans. One case that generated notable interest among the Forum’s attendees was that of Lisa Ferrie and Jiten Parmar from Leeds General Infirmary. The pair worked alongside Asim Sheikh, a Consultant Skullbase and Neurovascular Neurosurgeon, to conduct the UK’s first “coach door osteotomy” on Ruvimbo Kaviya, a 40-year-old nurse from Leeds.  This novel keyhole surgery successfully removed a brain tumor from Kaviya’s cavernous sinus, a hard-to-reach area behind the eyes. Most surgeries of this kind require large incisions and the removal of substantial skull sections, resulting in extended recovery time and the risk of postoperative complications. Such an approach would have presented serious risks for removing Kaviya’s tumor, which “was in a complex area surrounded by a lot of nerves,” explained Parmar, a Consultant in Maxillofacial Surgery.    Instead, the Leeds-based team uses a minimally invasive technique that requires only a 1.5 cm incision near the side of Ravimbo’s eyelid. A small section of skull bone was then shifted sideways and backward, much like a coach door sliding open, to create an access point for tumor removal. Following the procedure, Ravimbo recovered in a matter of days and was left with only a 6 mm scar at the incision point.  Materialise software played a vital role in facilitating this novel procedure. Ferrie is a Biomedical Engineer and 3D Planning Service Lead at Leeds Teaching Hospitals NHS Trust. She used mimics to convert medical scans into digital 3D models of Ravimbo’s skull. This allowed her team to conduct “virtual surgical planning” and practice the procedure in three dimensions, “to see if it’s going to work as we expect.”  Ferrie also fabricated life-sized, polyjet 3D printed anatomical models of Ravimbo’s skull for more hands-on surgical preparation. Sheikh and Parmar used these models in the hospital’s cadaver lab to rehearse the procedure until they were confident of a successful outcome. This 3D printing-enabled approach has since been repeated for additional cases, unlocking a new standard of care for patients with previously inoperable brain tumors.  The impact of 3D planning is striking. Average operating times fell from 8-12 hours to just 2-3 hours, and average patient discharge times dropped from 7-10 days to 2-3 days. These efficiencies translated into cost savings of £1,780 to £5,758 per case, while additional surgical capacity generated an average of £11,226 in income per operating list. Jiten Parmar (right) and Lisa Ferrie (left) presenting at the Materialise 3D Printing in Hospitals Forum 2025. Photo via Materialise. Dr. Davide Curione also discussed the value of virtual planning and 3D printing for surgical procedures. Based at Bambino Gesù Pediatric Hospital in Rome, the radiologist’s team conducts 3D modeling, visualization, simulation, and 3D printing.  One case involved thoraco-omphalopagus twins joined at the chest and abdomen. Curione’s team 3D printed a multi-color anatomical model of the twins’ anatomy, which he called “the first of its kind for complexity in Italy.” Fabricated in transparent resin, the model offered a detailed view of the twins’ internal anatomy, including the rib cage, lungs, and cardiovascular system. Attention then turned to the liver. The team built a digital reconstruction to simulate the optimal resection planes for the general separation and the hepatic splitting procedure. This was followed by a second multi-colour 3D printed model highlighting the organ’s vascularisation. These resources improved surgical planning, cutting operating time by 30%, and enabled a successful separation, with no major complications reported two years post-operation. Dr. Davide Curione’s workflow for creating a 3D printed model of thoraco-omphalopagus twins using Mimics. Image via Frontiers in Physiology. VR-enabled surgery enhances organ transplants   Materialise’s Mimics software can also be used in extended reality (XR), allowing clinicians to interact more intuitively with 3D anatomical models and medical images. By using off-the-shelf virtual reality (VR) and augmented reality (AR) headsets, healthcare professionals can more closely examine complex structures in an immersive environment. Dr. David Sibřina is a Principal Researcher and Developer for the VRLab team at Prague’s Institute for Clinical and Experimental Medicine (IKEM). He leads efforts to accelerate the clinical adoption of VR and AR in organ transplantation, surgical planning, and surgical guidance.  The former Forbes 30 Under 30 honouree explained that since 2016, IKEM’s 3D printing lab has focused on producing anatomical models to support liver and kidney donor programmes. His lab also fabricates 3D printed anatomical models of ventricles and aneurysms for clinical use.  However, Sibřina’s team recently became overwhelmed by high demand for physical models, with surgeons requesting additional 3D model processing options. This led Sibřina to create the IKEM VRLab, offering XR capabilities to help surgeons plan and conduct complex transplantation surgeries and resection procedures.      When turning to XR, Sibřina’s lab opted against adopting a ready-made software solution, instead developing its own from scratch. “The problem with some of the commercial solutions is capability and integration,” he explained. “The devices are incredibly difficult and expensive to integrate within medical systems, particularly in public hospitals.” He also pointed to user interface shortcomings and the lack of alignment with established medical protocols.  According to Sibřina, IKEM VRLab’s offering is a versatile and scalable VR system that is simple to use and customizable to different surgical disciplines. He described it as “Zoom for 3D planning,” enabling live virtual collaboration between medical professionals. It leverages joint CT and MRI acquisition models, developed with IKEM’s medical physicists and radiologists. Data from patient scans is converted into interactive digital reconstructions that can be leveraged for analysis and surgical planning.  IKEM VRLab also offers a virtual “Fitting Room,” which allows surgeons to assess whether a donor’s organ size matches the recipient’s body. A digital model is created for every deceased donor and live recipient’s body, enabling surgeons to perform the size allocation assessments.  Sibřina explained that this capability significantly reduces the number of recipients who would otherwise fail to be matched with a suitable donor. For example, 262 deceased liver donors have been processed for Fitting Room size allocations by IKEM VRLab. In 27 instances, the VR Fitting Room prevented potential recipients from being skipped in the waiting list based on standard biometrics, CT axis measurements, and BMI ratios.                          Overall, 941 patient-specific visualizations have been performed using Sibřina’s technology. 285 (28%) were for liver recipients, 311 (31%) for liver donors, and 299 (23%) for liver resection. Living liver donors account for 59 (6%) cases, and split/reduced donors for 21 (2%).           A forum attendee using Materialise’s Mimics software in augmented reality (AR). Photo via Materialise. Personalized healthcare: 3D printing implants and surgical guides  Beyond surgical planning and 3D visualisation, Materialise Mimics software supports the design and production of patient-specific implants and surgical guides. The company conducts healthcare contract manufacturing at its Leuven HQ and medical 3D printing facility in Plymouth, Michigan.  Hospitals can design patient-specific medical devices in-house or collaborate with Materialise’s clinical engineers to develop custom components. Materialise then 3D prints these devices and ships them for clinical use. The Belgian company, headed by CEO Brigitte de Vet-Veithen, produces around 280,000 custom medical instruments each year, with 160,000 destined for the US market. These include personalised titanium cranio-maxillofacial (CMF) implants for facial reconstruction and colour-coded surgical guides. Poole Hospital’s 3D specialists, Sian Campbell and Poppy Taylor-Crawford, shared how their team has adopted Materialise software to support complex CMF surgeries. Since acquiring the platform in 2022, they have developed digital workflows for planning and 3D printing patient-specific implants and surgical guides in 14 cases, particularly for facial reconstruction.  Campbell and Taylor-Crawford begin their workflow by importing patient CT and MRI data into Materialise’s Mimics Enlight CMF software. Automated tools handle initial segmentation, tumour resection planning, and the creation of cutting planes. For more complex cases involving fibula or scapula grafts, the team adapts these workflows to ensure precise alignment and fit of the bone graft within the defect. Next, the surgical plan and anatomical data are transferred to Materialise 3-matic, where the team designs patient-specific resection guides, reconstruction plates, and implants. These designs are refined through close collaboration with surgeons, incorporating feedback to optimise geometry and fit. Virtual fit checks verify guide accuracy, while further analysis ensures compatibility with surgical instruments and operating constraints. Once validated, the guides and implants are 3D printed for surgery. According to Campbell and Taylor-Crawford, these custom devices enable more accurate resections and implant placements. This improves surgical alignment and reduces theatre time by minimising intraoperative adjustments. An example of the cranio-maxillofacial implants and surgical guides 3D printed by Materialise. Photo by 3D Printing Industry Custom 3D printed implants are also fabricated at the Rizzoli Orthopaedic Institute in Bologna, Italy. Originally established as a motion analysis lab, the institute has expanded its expertise into surgical planning, biomechanical analysis, and now, personalized 3D printed implant design. Dr. Alberto Leardini, Director of the Movement Analysis Laboratory, described his team’s patient-specific implant workflow. They combine CT and MRI scans to identify bone defects and tumour locations. Clinical engineers then use this data to build digital models and plan resections. They also design cutting guides and custom implants tailored to each patient’s anatomy. These designs are refined in collaboration with surgeons before being outsourced to manufacturing partners for production. Importantly, this workflow internalizes design and planning phases. By hosting engineering and clinical teams together on-site, they aim to streamline decision-making and reduce lead times. Once the digital design is finalised, only the additive manufacturing step is outsourced, ensuring “zero distance” collaboration between teams.  Dr. Leardini emphasised that this approach improves clinical outcomes and promises economic benefits. While custom implants require more imaging and upfront planning, they reduce time in the operating theatre, shorten hospital stays, and minimise patient transfers.  After a full day of presentations inside the Irish College’s eighteenth-century chapel, the consensus was clear. 3D technology is not a niche capability reserved for high-end procedures, but a valuable tool enhancing everyday care for thousands of patients globally. From faster surgeries to cost savings and personalized treatments, hospitals are increasingly embedding 3D technology into routine care. Materialise’s software sits at the heart of this shift, enabling clinicians to deliver safer, smarter, and more efficient healthcare.  Take the 3DPI Reader Survey – shape the future of AM reporting in under 5 minutes. Read all the 3D printing news from RAPID + TCT 2025 Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news.You can also follow us on LinkedIn, and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content.Featured image shows 3D printed anatomical models at Materialise HQ in Leuven. Photo by 3D Printing Industry.

PROS: High-quality display Expandable storage via micro-SD card NFC for contactless payment Excellent battery life CONS: No wireless charging Underwhelming zoom camera performance Mediocre ultra-wide camera RATINGS: AESTHETICSERGONOMICSPERFORMANCESUSTAINABILITY / REPAIRABILITYVALUE FOR MONEYEDITOR'S QUOTE:While most budget devices settle for generic designs and modest features, CMF doubles down on personality, usability, and thoughtful design. Smartphones under the $300 mark often blur together: plastic builds, uninspired aesthetics, and safe, forgettable designs. But CMF, the design-focused sub-brand of Nothing, broke that mold with the original Phone 1. Now, it’s raising the bar even further with the CMF Phone 2 Pro. From the moment you pick it up, it’s clear that CMF isn’t just chasing specs on a budget. It’s bringing back personality, purpose, and a sense of play to the affordable smartphone space. Building on the modular concept introduced with the Phone 1 and its swappable back panels, the CMF Phone 2 Pro embraces customizability and visual flair in a category that usually plays it safe. With its bold design, vibrant display, and user-focused features, it’s a refreshing reminder that budget-friendly doesn’t have to mean boring. But bold claims and striking aesthetics only go so far; what really matters is how the phone performs in everyday use. So, does the CMF Phone 2 Pro live up to the promise of offering both style and substance on a budget? Let’s dive into the details. Designer: CMF by Nothing Aesthetics The most talked-about design element of the CMF Phone 1 was its removable back panel, secured by visible screws. This immediately set it apart in a smartphone market filled with similar-looking devices. The modularity was not just for appearance. CMF offered swappable back panels, and functional accessories such as a kickstand, lanyard, and card case that could be attached using the “Accessory Point,” a screw, at the right bottom corner, which is covered with the circular element. CMF also provided CAD data, allowing users to design and create their own back panels and accessories. The CMF Phone 2 Pro retains some design cues from its predecessor, such as the plastic back panel and exposed screws, but the modular concept has been reworked. Instead of the fully removable back panel from the Phone 1, the Phone 2 Pro now features an add-on back panel with a MagSafe-like magnetic attachment (though it lacks wireless charging). Unfortunately, this means that custom back panels from the Phone 1 are not compatible with the Phone 2 Pro, which may disappoint users who valued the original’s modularity. If you’re looking for the MagSafe-like feature and don’t mind adding a bit of thickness to the device, you can opt for a magnetic case that easily snaps on and off. In contrast, the add-on back panel requires screws for attachment, making it less convenient for those who prefer quick swaps. While it lacks the same level of customization as its predecessor, the CMF Phone 2 Pro still includes the Attachment Point in the lower right corner, which is compatible with accessories like the kickstand and lanyard from the previous model. This keeps some of the continuity in terms of accessories, even if the modularity has been dialed back. The camera layout has been updated as well. Each lens is now housed in its own circular aluminum enclosure, and a third camera has been added, offering more versatility compared to the dual-camera setup on the Phone 1. With the new add-on back panel, users can attach optional macro or fisheye lenses to the main camera, expanding their creative photography options. Another new feature on the CMF Phone 2 Pro is the Essential Key, a dedicated button that allows for quick screenshot capture. These screenshots are automatically stored in the Essential Space (more on that feature later), making it easier to organize and access your media. The CMF Phone 2 Pro comes in White, Black, Light Green, and Orange. The White and Orange models feature a two-tone finish that adds extra visual interest. The Light Green variant we received has a matte reflective surface. It is a soft and pleasant shade that gives the device a clean, fresh look. Ergonomics Weighing just 185 grams and measuring only 7.8 millimeters thick, the CMF Phone 2 Pro offers a perfect balance between lightness and solid construction. The phone feels surprisingly light in hand, which I really appreciate. Its flat side frame and fully flat display contribute to a clean, modern aesthetic while enhancing ergonomics. It sits comfortably in the hand, making one-handed use easy for most users. Although the CMF Phone 2 Pro features a plastic back panel, it feels more premium than its price suggests. The attention to detail in its finish and the thoughtful design of the hardware set it apart from many other budget devices, which often compromise on materials and build quality. The matte finish of the back panel is particularly noteworthy, as it resists fingerprints and smudges, keeping the phone looking clean. As for the in-display fingerprint scanner, it’s located near the bottom edge of the screen. While it works reliably and unlocks the phone quickly, the placement may require some adjustment, especially for users with larger hands. Despite this minor quirk, the fingerprint scanner remains a convenient and functional feature overall. Performance The CMF Phone 2 features a 6.77-inch AMOLED display with a resolution of 1080 x 2392 and a 120Hz adaptive refresh rate. It supports 10-bit color and HDR10+, and reaches a peak brightness of up to 3,000 nits, with a typical brightness of 800 nits. The display also has symmetrical bezels, which is a design detail rarely seen at this price point. This contributes to a more balanced and premium look. The screen is vibrant and remains clearly visible even in bright outdoor conditions. While the phone lacks stereo speakers, this is to be expected at its price range. Under the hood, the CMF Phone 2 is powered by the MediaTek Dimensity 7300 chipset. It comes with 8 GB of RAM and offers either 128 GB or 256 GB of storage. Storage is expandable via microSD card up to 2 TB, a flexible and cost-effective solution for users seeking to enhance their device’s capabilities without significant investment. Another welcome addition is NFC, which enhances convenience for contactless payments and device pairing. On the other hand, the lack of eSIM support may be a drawback for some users. The phone runs Nothing OS 3.2 based on Android 15 right out of the box. As expected from Nothing OS, it offers a clean interface with a wide range of customization options. A useful addition is the Smart (Beta) app drawer, which automatically categorizes and organizes apps into logical groups. Always-on display is now supported as well, adding to the phone’s usability. A standout new feature is Essential Space, which first debuted on the Nothing Phone 3a series and now makes its way to CMF. It is an AI-powered hub where you can store screenshots, photos, voice memos, notes, and reminders. The AI intelligently analyzes and organizes this content, surfacing key information so you can easily access everything in one place. The CMF Phone 2 Pro features a triple-camera setup on the back, consisting of a 50 MP main camera, a 50 MP telephoto camera, and an 8 MP ultra-wide camera. It’s impressive to see a triple-camera configuration at this price point. However, the camera performance doesn’t quite live up to expectations, with the results being somewhat underwhelming. The 24mm equivalent main camera features a 1/1.57-inch sensor and an f/1.88 aperture. It captures decent photos across different lighting conditions, with a good dynamic range, though the color temperature tends to lean towards warm undertones. While the details could be sharper, the overall image quality is acceptable. In bright daylight, the shutter speed is quick, but in low-light conditions, it slows down, even when not using night mode. The 50mm equivalent 2x telephoto camera is equipped with a 1/2.88-inch sensor and an f/1.85 aperture. While it can zoom up to 20x, image quality significantly drops beyond 2x, with noticeable loss of detail. The telephoto lens struggles with color consistency and focus, even in well-lit conditions. As for the 15mm equivalent ultra-wide camera, it underperforms, but that’s to be expected at this price point. The portrait mode on the CMF Phone 2 Pro delivers surprisingly good results. It offers four different focal lengths (1x, 2x, 3x, and 4x), giving you flexibility in framing your subject. The background blur is smooth, and edge detection is fairly accurate, making for more natural-looking portraits. While it may not rival flagship devices in terms of detail and precision, the results are still impressive, with pleasing contrast and sharpness. The CMF Phone 2 Pro supports video recording up to 4K at 30 FPS with stabilization on both the main and telephoto cameras. The ultra-wide camera, however, is limited to 1080p at 60 FPS. Video quality in good lighting conditions is generally solid, but in low light, footage can appear jittery. The 16 MP front-facing camera records at up to 1080p at 60 FPS. With a robust 5,000 mAh battery, the CMF Phone 2 Pro delivers excellent battery life, easily lasting a full day of use. The 33W wired charging isn’t the fastest on the market, but it’s efficient and gets the job done. While the absence of wireless charging is understandable at this price point, the phone compensates with a handy 5W reverse charging feature via USB-C, allowing you to top up other devices when needed. Overall, the battery performance is solid and practical for everyday use. Sustainability The Panda Glass display improves durability by resisting scratches, helping the phone last longer. With an IP54 rating, it can handle light splashes and dust, which is solid for this price range, though not as durable as higher-end devices with IP68 or IP69 ratings. The battery retains over 90% of its capacity after 1,200 charging cycles, ensuring the phone lasts for years without significant degradation and reducing the need for replacements. CMF also offers three years of Android updates and six years of security updates for long-term software support. However, the removable back panel from the CMF Phone 1 has been replaced with a more traditional design, limiting repairability. While this improves the phone’s structural integrity, it sacrifices some of the modularity that was a key feature of the Phone 1. It’s also worth noting that while the Phone 1 had a non-replaceable battery, its modular design allowed for some flexibility in the phone’s upkeep. Overall, while the CMF Phone 2 Pro is built with durable materials and has a long-lasting battery, it lacks the deep eco-friendly focus and modularity seen in its predecessor. Value Priced starting at 249 GBP, the CMF Phone 2 Pro offers excellent value with its unique design, solid performance, and long battery life, making it an appealing option for budget-conscious consumers looking for a distinctive smartphone experience. While the camera may not match the capabilities of high-end devices, the overall package delivers impressive quality for its price. One downside is that the CMF Phone 2 Pro is currently only available in the U.S. through Nothing’s “US Beta Program,” similar to the CMF Phone 1. Additionally, only the 8GB/256GB version is available in the U.S., priced at $279, which may limit options for those looking for a more affordable configuration. Despite these limitations, the CMF Phone 2 Pro remains a solid choice for users seeking a distinctive smartphone experience at an affordable price. Verdict The CMF Phone 2 Pro is a rare standout in the crowded sub-$300 smartphone space. While most budget devices settle for generic designs and modest features, CMF doubles down on personality, usability, and thoughtful design. With its optional magnetic back panel, Essential Space, and vibrant AMOLED display, it offers a user experience that feels far more premium than its price tag suggests. Performance is reliable, battery life is excellent, and the playful hardware customization, while dialed back from the original, still adds charm and utility. Camera performance is a mixed bag, especially in low light, but that’s a common compromise at this price point. The phone’s build quality, ergonomic design, and extended software support make it an even more compelling choice. For users who value both form and function on a budget, the CMF Phone 2 Pro proves that affordable doesn’t have to mean ordinary. It’s not perfect, but it’s refreshingly different, and that counts for a lot. The post CMF Phone 2 Pro Review: Affordable Innovation with Style and Substance Under $300 first appeared on Yanko Design.

PROS: Very affordable price points Great sound quality Charming, playful design Great battery life CONS: No interactive control dial Microphone picks up surrounding noise RATINGS: AESTHETICSERGONOMICSPERFORMANCESUSTAINABILITY / REPAIRABILITYVALUE FOR MONEYEDITOR'S QUOTE:CMF by Nothing continues to impress with its ability to balance design, performance, and affordability, and the Buds 2 and Buds 2 Plus are perfect examples of that philosophy in action. CMF, the design-focused sub-brand of Nothing, has proven time and again that great sound and great design can coexist in harmony without breaking the bank. With their playful aesthetics, the Buds 2 and Buds 2 Plus are CMF’s latest audio offerings that pack a surprising number of features into an impressively affordable price point. The Buds 2 and Buds 2 Plus, along with Phone Pro 2, the latest offerings from this innovative brand, showcase just how deeply CMF’s philosophy is embedded into their products. Designer: CMF by Nothing Aesthetics The CMF Buds 2 and Buds 2 Plus follow a natural evolution of the design language introduced with the Buds Pro 2 last July. While both models share a nearly identical form, there are subtle differences that set them apart. One prominent feature is the rotating dial on the upper left corner of the charging case, which mirrors the design of the Buds Pro 2. However, unlike the customizable Smart Dial found on the CMF Buds Pro 2, which lets you twist to adjust volume, manage playback, and press for functions like noise cancellation and Voice Assistant, you can do none of these with the dials on the Buds 2 and Buds 2 Plus. They are intended for lanyard attachment or simply as a satisfying tactile feature for fidgeting, with no interactive controls. The CMF Buds 2 features a transparent rotating dial, providing a contrast against the sandblast-textured case that adds a playful touch. On the other hand, the CMF Buds 2 Plus sports a matte metallic finish on its dial, giving it a more sophisticated and refined look. This contributes to the cohesive, design-driven ethos of CMF by Nothing, which is echoed across products like the CMF Phone 2 Pro. Both models are housed in square-shaped cases with rounded edges, which creates a soft and approachable aesthetic that feels modern and tactile. The CMF Buds 2 Plus have a rubber-coated texture, offering a more premium, grippy feel. On the bottom left of the case, you’ll find the iconic CMF by Nothing branding in its signature Ndot font, giving the design a clean and minimalist finish. Opening the case reveals the earbuds arranged diagonally inside, securely held by magnets, with the Bluetooth pairing button located at the bottom right corner between two buds. The earbuds themselves feature a simple design, with shiny plastic housings and matte stems. A circular mark on the top of the stem indicates the touch-sensitive area, though there are no markings at the bottom of the stem, unlike the Buds Pro 2. The CMF Buds 2 come in Light Green, Black, and Orange, while the CMF Buds 2 Plus are available in Light Grey and Blue. We received the Orange Buds 2 and Blue Buds 2 Plus for review. The Blue variant, which has a deep navy hue with a hint of purple, is particularly striking. However, the Blue Buds 2 Plus do show oil smudges more easily, which is something to keep in mind. Ergonomics The charging case for the CMF Buds 2 and Buds 2 Plus is not the smallest, measuring 53.3 x 53.3 x 23 mm, but the textured surface makes it feel pleasant and solid in hand. I found myself often fiddling with the rotating dial. It’s surprisingly enjoyable, even without the clicking tactile you get to enjoy on the Buds 2 Pro, adding a playful element to the experience. Taking the earbuds out of the case and putting them back in is simple and effortless. Weighing in at just 4.5 grams, the earbuds are lightweight and sit comfortably in my ears, with the medium silicone tips that come pre-installed. Of course, fit is different for each individual, and for those who need a different fit, smaller and larger silicone tips are also included in the box for a more customized fit. The fit of the CMF Buds 2 and Buds 2 Plus is particularly impressive. I wore the Buds 2 and Buds 2 Plus continuously for over eight hours, and they remained comfortable the entire time. What’s even more surprising is that I usually struggle with getting other earbuds to stay securely in my left ear, but both pairs of these earbuds sat firmly in place, whether I was running, cycling, or doing light yoga. They felt stable and snug, providing a comfortable fit that didn’t shift or cause any irritation, even during more intense activities. Performance The CMF Buds 2 and Buds 2 Plus both deliver impressive sound quality, especially considering their price points. The Buds 2 features an 11 millimeter PMI (Polymethacrylimide) diaphragm driver, while the Buds 2 Plus steps things up with a 12mm LCP driver (Liquid Crystal Polymer). Both support AAC and SBC codecs, while the Buds 2 Plus also includes LDAC support for high-resolution audio. Out of the box, both earbuds lean toward a bass-rich sound signature. The low end is prominent but does not overpower the mids and highs. If you want to enhance the bass even further, you can activate Ultra Bass Technology 2.0 in the Nothing X app. This feature lets you boost the bass on a scale from one to five, depending on your preference. The Buds 2 are tuned to emphasize bass more than the Buds 2 Plus. The CMF Buds 2 produce deep and punchy bass that enhances genres like hip-hop and EDM. On the other hand, the Buds 2 Plus offer a more balanced sound profile, with clearer mids and more detailed highs. Both options, however, are geared toward listeners who enjoy a bass-forward experience. The CMF Buds 2 features Dirac Opteo tuning, which helps improve clarity and spatial sound characteristics by optimizing how audio is delivered to your ears. This feature is not available on the Buds 2 Plus. Instead, the Buds 2 Plus offers Personal Sound powered by Audiodo. This function uses a short hearing test within the Nothing X app, where tones are played across various frequencies for each ear. Based on your responses, the app creates a personalized audio profile that adjusts frequencies you may have difficulty hearing. This results in a more tailored and balanced listening experience. Both models work with the Nothing X app, which gives you access to adjustable EQ settings, ANC modes, and control customization. The EQ interface lets you fine-tune bass, mids, and treble across five intensity levels. Unlike Nothing’s flagship audio products, you do not get access to the advanced EQ with granular tweaking. However, the app does include several preloaded sound presets for quick selection. Touch controls are also customizable through the app. You can assign different commands to double taps, triple taps, tap and hold, and double tap and hold for both left and right earbuds. Changing the function assigned to a single tap is not supported. The touch-sensitive area is located near the top of the earbud stem, which may require some practice to hit accurately. A convenient addition would have been the option to mute the microphone during calls with a tap gesture. Both models feature active noise cancellation. ANC works well and introduces no noticeable white noise or hiss in quiet settings. You also get transparency modes to let in surrounding sound when needed. The Buds 2 and Buds 2 Plus are equipped with six HD microphones. Call quality is clear in quiet environments. However, in noisy conditions, background sounds such as wind or nearby conversations are often picked up, which can affect clarity during calls. Dual connectivity is supported by both models, allowing you to stay connected to two devices at the same time. I tested them with two smartphones and also with a phone and a laptop, and switching between devices worked smoothly and without delays.  In-ear detection generally functions reliably, though it can be a little too sensitive at times. I’ve occasionally experienced playback pausing even when the earbuds remain securely in my ears. A small adjustment typically gets the audio going again. That said, this doesn’t appear to be a widespread issue based on user feedback from the Nothing Community, so it may just be an isolated case in my experience. Battery life is another strong point. The Buds 2 offer up to 14 hours of playback with ANC turned off, and up to 61.5 hours including the charging case. The CMF Buds 2 Plus, meanwhile, provide 13.5 hours of playback on a single charge, and up to 55 hours with the case, also with ANC off. With ANC turned on, I consistently got around 8 hours on the Buds 2 and about 8.5 hours on the Buds 2 Plus, primarily listening to streaming music and occasional videos in quiet environments. Battery performance will vary depending on volume and background noise. Fast charging is supported through USB-C. A 10-minute charge provides up to 7.5 hours of playback on the Buds 2 and 8.5 hours on the Buds 2 Plus. While there is no wireless charging support, this is understandable for earbuds in this price range. Sustainability CMF by Nothing has clearly put a lot of thought into making the Buds 2 and Buds 2 Plus durable enough to last well beyond your typical upgrade cycle. Both models go through extensive durability testing. From a 1-meter drop test, plug and unplug tests for the charging port (tested up to 5,000 cycles), to temperature stability under extreme conditions, ranging from -40°C to 75°C for 96 hours. The earbuds themselves are IP55 rated, so they’re protected against dust and splashes, making them a reliable pick for sweaty workouts or rainy commutes. The charging case, on the other hand, carries a more modest IPX2 rating. That means it can handle the occasional drip, but it’s definitely not made for water exposure. It’s also worth noting that CMF’s packaging is plastic-free, which is a great step in the right direction. Still, we’d love to see them go a bit further, incorporating recycled or biodegradable materials in the earbuds or case would push their sustainability story even further. Durability helps keep these earbuds in use longer, which is a win for the environment. But with just a bit more focus on materials, CMF could take its eco credentials to the next level. Value At $59 and $69, respectively, the CMF Buds 2 and Buds 2 Plus deliver exceptional value for money. Both models offer well-tuned audio, thoughtful design, reliable performance, and a feature set that can easily compete with earbuds that cost significantly more. In terms of sound, they stand out in the budget segment with punchy bass and good clarity. The value becomes even more apparent when you consider the feature list. Both models include IP55-rated earbuds for water and dust resistance, a customizable EQ through the Nothing X app, and Ultra Bass Technology 2.0 for those who want to boost low-end performance. The rotating dial on the case, which serves both as a lanyard attachment point and a fun tactile element, adds a bit of personality and playfulness to the design. For those who prefer a more neutral sound signature and are not fans of bass-heavy tuning, the Realme Buds Air 7 are a strong alternative. Priced at around 299 Chinese yuan, which is approximately 41 US dollars, they come in a stylish transparent moss green version. However, the charging case is bulkier, and the earbuds are not officially available in the United States, which might be a drawback for some. Verdict CMF by Nothing continues to impress with its ability to balance design, performance, and affordability, and the Buds 2 and Buds 2 Plus are perfect examples of that philosophy in action. Both models deliver surprisingly rich audio for their price. Unique design choices like the tactile rotating dial, sturdy build, and IP55 water resistance make these earbuds feel far more premium than their modest price tags suggest. Battery life is excellent, and the Nothing X app adds a lot of flexibility. At these price points, the Buds 2 and Buds 2 Plus punch well above their weight. In fact, when it comes to affordable true wireless earbuds, these might just be the best in their class. If you want earbuds that look great, sound great, and won’t drain your wallet, these are hard to beat. The post CMF Buds 2 and Buds 2 Plus Review: Playful, Talented, and Affordable first appeared on Yanko Design.