Are you wondering about the Rainy quiz answers in Death Stranding 2: On the Beach? Yes, one of your companions aboard the DHV Magellan will ask several questions throughout the course of the campaign. Providing the correct responses nets you some cool rewards, too.All Rainy quiz answers in Death Stranding 2 There are three questions that are part of Rainy's quiz, as well as a fourth bonus question from Tomorrow. Here's a quick summary:The Rainy quiz in Death Stranding 2 happened from Episode 7: Pod onward.These events occur aboard the DHV Magellan. You need to rest in your private room and then exit back to the surface.At certain points, instead of Sam automatically heading back up top, a cutscene will play where Rainy asks Sam a few questions.Giving the correct answer nets you a new decal for your vehicle. Rainy quiz #1Question: Which part of a platypus' life cycle best depicts the "?" stage?Answer: Platypus EggRewards: Rainy Decal and +100 likes from Drawbridge Rainy quiz #2 Question: Which block best fits the position of the "?" icon?Answer: The "L-shaped" block to the right.Rewards: Tomorrow Decal and +200 likes from Drawbridge Rainy quiz #3 Question: Assuming you depart from F1, what is the fastest route that lets you deliver cargo to all facilities in a single run?Answer: B-A-C-DReward: Fragile Decale and +300 likes from Drawbridge Tomorrow's nightmare questionWe got this cutscene a bit later after giving the correct answers to Rainy's quiz in Death Stranding 2. Instead of Rainy questioning Sam, it was Tomorrow who spoke with him.Question: Which character would you choose? Choose well.Answer: N/A - You can choose Fragile, Rainy, Tomorrow, or Higgs.Reward: N/A - Sadly, we didn't receive any reward from this. Sam simply woke up suddenly, so it's probably just an Easter egg or joke sequence.That's everything you need to know about the Death Stranding 2 Rainy quiz answers. For other in-game mechanics, you can head over to our beginner's guide.Humanity yearns to be interconnected once more, and it's up to you to deliver the goods. If you need more help, then we've got you covered in our Death Stranding 2 guides hub.

Death Stranding 2: On the Beach players have found a stunning Ghost of Yotei Easter egg during gameplay, which gives Sam Porter Bridges a fantastic cosmetic to don. Death Stranding 2 was written, produced, and directed by the legendary Hideo Kojima, and the plot is set 11 months after the events of the first, post-apocalyptic game. Players return to pilot freelance porter, Sam, across Australia in a bid to locate survivors and save humanity.

Hideo Kojima's latest game, Death Stranding 2: On the Beach, has arrived on PlayStation 5. While players continue to pour over the details, they may find a few Easter eggs that were placed in the game by Kojima himself. According to Kojima, he only took that hands-on approach because his staff refused to do it for him.As reported by Game Spark (via Automaton), Kojima confirmed that he personally added those nods to his past. He went on to say that when his staff was asked to include his self-referential jokes, they would pretend they didn't hear him.It's possible that Kojima was only joking about his staff's lack of enthusiasm for his ideas, but he did share the details about where one of his Easter eggs is hidden. He noted that it can be found when players visit a hot spring and look up at the sky before zooming in on the stars.Continue Reading at GameSpot

Les élèves de l’ESMA nous ont proposé de nombreuses comédies et parodies au fil des ans. Une tradition qui se poursuit avec Eastern, qui revisite les codes du western pour vous proposer un concept décalé, jouant sur le character design et les s

Ironheart creator Chinaka Hodge assuaged any fears newcomers to the Marvel Cinematic Universe may have by letting the world know you don’t need to watch any of the previous Marvel movies to enjoy Ironheart. That’s true—but if you’re a Marvel diehard,

A favourite thing for the developers behind a complex software project is to embed an Easter egg: something unexpected that can be revealed only by those in the know. Apple …read more

There has been a new update to the ongoing Stratasys v. Bambu Lab patent infringement lawsuit.  Both parties have agreed to consolidate the lead and member cases (2:24-CV-00644-JRG and 2:24-CV-00645-JRG) into a single case under Case No. 2:25-cv-00465-JRG.  Industrial 3D printing OEM Stratasys filed the request late last month. According to an official court document, Shenzhen-based Bambu Lab did not oppose the motion. Stratasys argued that this non-opposition amounted to the defendants waiving their right to challenge the request under U.S. patent law 35 U.S.C. § 299(a). On June 2, the U.S. District Court for the Eastern District of Texas, Marshall Division, ordered Bambu Lab to confirm in writing whether it agreed to the proposed case consolidation. The court took this step out of an “abundance of caution” to ensure both parties consented to the procedure before moving forward. Bambu Lab submitted its response on June 12, agreeing to the consolidation. The company, along with co-defendants Shenzhen Tuozhu Technology Co., Ltd., Shanghai Lunkuo Technology Co., Ltd., and Tuozhu Technology Limited, waived its rights under 35 U.S.C. § 299(a). The court will now decide whether to merge the cases. This followed U.S. District Judge Rodney Gilstrap’s decision last month to deny Bambu Lab’s motion to dismiss the lawsuits.  The Chinese desktop 3D printer manufacturer filed the motion in February 2025, arguing the cases were invalid because its US-based subsidiary, Bambu Lab USA, was not named in the original litigation. However, it agreed that the lawsuit could continue in the Austin division of the Western District of Texas, where a parallel case was filed last year.  Judge Gilstrap denied the motion, ruling that the cases properly target the named defendants. He concluded that Bambu Lab USA isn’t essential to the dispute, and that any misnaming should be addressed in summary judgment, not dismissal.        A Stratasys Fortus 450mc (left) and a Bambu Lab X1C (right). Image by 3D Printing industry. Another twist in the Stratasys v. Bambu Lab lawsuit  Stratasys filed the two lawsuits against Bambu Lab in the Eastern District of Texas, Marshall Division, in August 2024. The company claims that Bambu Lab’s X1C, X1E, P1S, P1P, A1, and A1 mini 3D printers violate ten of its patents. These patents cover common 3D printing features, including purge towers, heated build plates, tool head force detection, and networking capabilities. Stratasys has requested a jury trial. It is seeking a ruling that Bambu Lab infringed its patents, along with financial damages and an injunction to stop Bambu from selling the allegedly infringing 3D printers. Last October, Stratasys dropped charges against two of the originally named defendants in the dispute. Court documents showed that Beijing Tiertime Technology Co., Ltd. and Beijing Yinhua Laser Rapid Prototyping and Mould Technology Co., Ltd were removed. Both defendants represent the company Tiertime, China’s first 3D printer manufacturer. The District Court accepted the dismissal, with all claims dropped without prejudice. It’s unclear why Stratasys named Beijing-based Tiertime as a defendant in the first place, given the lack of an obvious connection to Bambu Lab.  Tiertime and Stratasys have a history of legal disputes over patent issues. In 2013, Stratasys sued Afinia, Tiertime’s U.S. distributor and partner, for patent infringement. Afinia responded by suing uCRobotics, the Chinese distributor of MakerBot 3D printers, also alleging patent violations. Stratasys acquired MakerBot in June 2013. The company later merged with Ultimaker in 2022. In February 2025, Bambu Lab filed a motion to dismiss the original lawsuits. The company argued that Stratasys’ claims, focused on the sale, importation, and distribution of 3D printers in the United States, do not apply to the Shenzhen-based parent company. Bambu Lab contended that the allegations concern its American subsidiary, Bambu Lab USA, which was not named in the complaint filed in the Eastern District of Texas. Bambu Lab filed a motion to dismiss, claiming the case is invalid under Federal Rule of Civil Procedure 19. It argued that any party considered a “primary participant” in the allegations must be included as a defendant.    The court denied the motion on May 29, 2025. In the ruling, Judge Gilstrap explained that Stratasys’ allegations focus on the actions of the named defendants, not Bambu Lab USA. As a result, the official court document called Bambu Lab’s argument “unavailing.” Additionally, the Judge stated that, since Bambu Lab USA and Bambu Lab are both owned by Shenzhen Tuozhu, “the interest of these two entities align,” meaning the original cases are valid.   In the official court document, Judge Gilstrap emphasized that Stratasys can win or lose the lawsuits based solely on the actions of the current defendants, regardless of Bambu Lab USA’s involvement. He added that any potential risk to Bambu Lab USA’s business is too vague or hypothetical to justify making it a required party. Finally, the court noted that even if Stratasys named the wrong defendant, this does not justify dismissal under Rule 12(b)(7). Instead, the judge stated it would be more appropriate for the defendants to raise that argument in a motion for summary judgment. The Bambu Lab X1C 3D printer. Image via Bambu Lab. 3D printing patent battles  The 3D printing industry has seen its fair share of patent infringement disputes over recent months. In May 2025, 3D printer hotend developer Slice Engineering reached an agreement with Creality over a patent non-infringement lawsuit.  The Chinese 3D printer OEM filed the lawsuit in July 2024 in the U.S. District Court for the Northern District of Florida, Gainesville Division. The company claimed that Slice Engineering had falsely accused it of infringing two hotend patents, U.S. Patent Nos. 10,875,244 and 11,660,810. These cover mechanical and thermal features of Slice’s Mosquito 3D printer hotend. Creality requested a jury trial and sought a ruling confirming it had not infringed either patent. Court documents show that Slice Engineering filed a countersuit in December 2024. The Gainesville-based company maintained that Creaility “has infringed and continues to infringe” on both patents. In the filing, the company also denied allegations that it had harassed Creality’s partners, distributors, and customers, and claimed that Creality had refused to negotiate a resolution.   The Creality v. Slice Engineering lawsuit has since been dropped following a mutual resolution. Court documents show that both parties have permanently dismissed all claims and counterclaims, agreeing to cover their own legal fees and costs.  In other news, large-format resin 3D printer manufacturer Intrepid Automation sued 3D Systems over alleged patent infringement. The lawsuit, filed in February 2025, accused 3D Systems of using patented technology in its PSLA 270 industrial resin 3D printer. The filing called the PSLA 270 a “blatant knock off” of Intrepid’s DLP multi-projection “Range” 3D printer.   San Diego-based Intrepid Automation called this alleged infringement the “latest chapter of 3DS’s brazen, anticompetitive scheme to drive a smaller competitor with more advanced technology out of the marketplace.” The lawsuit also accused 3D Systems of corporate espionage, claiming one of its employees stole confidential trade secrets that were later used to develop the PSLA 270 printer. 3D Systems denied the allegations and filed a motion to dismiss the case. The company called the lawsuit “a desperate attempt” by Intrepid to distract from its own alleged theft of 3D Systems’ trade secrets. Who won the 2024 3D Printing Industry Awards? 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 a Stratasys Fortus 450mc (left) and a Bambu Lab X1C (right). Image by 3D Printing industry.

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" 19 shortlisted projects for the 2025 Award cycle were revealed by the Aga Khan Award for Architecture (AKAA). A portion of the $1 million prize, one of the biggest in architecture, will be awarded to the winning proposals. Out of the 369 projects nominated for the 16th Award Cycle (2023-2025), an independent Master Jury chose the 19 shortlisted projects from 15 countries.The nine members of the Master Jury for the 16th Award cycle include Azra Akšamija, Noura Al-Sayeh Holtrop, Lucia Allais, David Basulto, Yvonne Farrell, Kabage Karanja, Yacouba Konaté, Hassan Radoine, and Mun Summ Wong.His Late Highness Prince Karim Aga Khan IV created the Aga Khan Award for Architecture in 1977 to recognize and promote architectural ideas that effectively meet the needs and goals of communities where Muslims are a major population. Nearly 10,000 construction projects have been documented since the award's inception 48 years ago, and 128 projects have been granted it. The AKAA's selection method places a strong emphasis on architecture that stimulates and responds to people's cultural ambitions in addition to meeting their physical, social, and economic demands.The Aga Khan Award for Architecture is governed by a Steering Committee chaired by His Highness the Aga Khan. The other members of the Steering Committee are Meisa Batayneh, Principal Architect, Founder, maisam architects and engineers, Amman, Jordan; Souleymane Bachir Diagne, Professor of Philosophy and Francophone Studies, Columbia University, New York, United States of America; Lesley Lokko, Founder & Director, African Futures Institute, Accra, Ghana; Gülru Necipoğlu, Director and Professor, Aga Khan Program for Islamic Architecture, Harvard University, Cambridge, United States of America; Hashim Sarkis, Founder & Principal, Hashim Sarkis Studios (HSS); Dean, School of Architecture and Planning, Massachusetts Institute of Technology, Cambridge, United States of America; and Sarah M. Whiting, Partner, WW Architecture; Dean and Josep Lluís Sert Professor of Architecture, Graduate School of Design, Harvard University, Cambridge, United States of America. Farrokh Derakhshani is the Director of the Award.Examples of outstanding architecture in the areas of modern design, social housing, community development and enhancement, historic preservation, reuse and area conservation, landscape design, and environmental enhancement are recognized by the Aga Khan Award for Architecture.Building plans that creatively utilize local resources and relevant technologies, as well as initiatives that could spur such initiatives abroad, are given special consideration. It should be mentioned that in addition to honoring architects, the Award also recognizes towns, builders, clients, master craftspeople, and engineers who have contributed significantly to the project.Projects had to be completed between January 1, 2018, and December 31, 2023, and they had to have been operational for a minimum of one year in order to be eligible for consideration in the 2025 Award cycle. The Award is not available for projects that His Highness the Aga Khan or any of the Aga Khan Development Network (AKDN) institutions have commissioned.See the 19 shortlisted projects with their short project descriptions competing for the 2025 Award Cycle:Khudi Bari. Image © Aga Khan Trust for Culture / City Syntax (F. M. Faruque Abdullah Shawon, H. M. Fozla Rabby Apurbo)BangladeshKhudi Bari, in various locations, by Marina Tabassum ArchitectsMarina Tabassum Architects' Khudi Bari, which can be readily disassembled and reassembled to suit the needs of the users, is a replicable solution for displaced communities impacted by geographic and climatic changes.West Wusutu Village Community Centre. Image © Aga Khan Trust for Culture / Dou Yujun (photographer)ChinaWest Wusutu Village Community Centre, Hohhot, Inner Mongolia, by Zhang PengjuIn addition to meeting the religious demands of the local Hui Muslims, Zhang Pengju's West Wusutu Village Community Centre in Hohhot, Inner Mongolia, offers social and cultural spaces for locals and artists. Constructed from recycled bricks, it features multipurpose indoor and outdoor areas that promote communal harmony.Revitalisation of Historic Esna. Image © Aga Khan Trust for Culture / Ahmed Salem (photographer)EgyptRevitalisation of Historic Esna, by Takween Integrated Community DevelopmentBy using physical interventions, socioeconomic projects, and creative urban planning techniques, Takween Integrated Community Development's Revitalization of Historic Esna tackles the issues of cultural tourism in Upper Egypt and turns the once-forgotten area around the Temple of Khnum into a thriving historic city.The Arc at Green School. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer)IndonesiaThe Arc at Green School, in Bali, by IBUKU / Elora HardyAfter 15 years of bamboo experimenting at the Green School Bali, IBUKU/Elora Hardy created The Arc at Green School. The Arc is a brand-new community wellness facility built on the foundations of a temporary gym. High-precision engineering and regional handicraft are combined in this construction.Islamic Centre Nurul Yaqin Mosque. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer)IndonesiaIslamic Centre Nurul Yaqin Mosque, in Palu, Central Sulawesi, by Dave Orlando and Fandy GunawanDave Orlando and Fandy Gunawan built the Islamic Center Nurul Yaqin Mosque in Palu, Central Sulawesi, on the location of a previous mosque that was damaged by a 2018 tsunami. There is a place for worship and assembly at the new Islamic Center. Surrounded by a shallow reflecting pool that may be drained to make room for more guests, it is open to the countryside.Microlibrary Warak Kayu. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer)IndonesiaMicrolibraries in various cities, by SHAU / Daliana Suryawinata, Florian HeinzelmannFlorian Heinzelmann, the project's initiator, works with stakeholders at all levels to provide high-quality public spaces in a number of Indonesian parks and kampungs through microlibraries in different towns run by SHAU/Daliana Suryawinata. So far, six have been constructed, and by 2045, 100 are planned.Majara Residence. Image © Aga Khan Trust for Culture / Deed Studio (photographer)IranMajara Complex and Community Redevelopment, in Hormuz Island by ZAV Architects / Mohamadreza GhodousiThe Majara Complex and Community Redevelopment on Hormuz Island, designed by ZAV Architects and Mohamadreza Ghodousi, is well-known for its vibrant domes that offer eco-friendly lodging for visitors visiting Hormuz's distinctive scenery. In addition to providing new amenities for the islanders who visit to socialize, pray, or utilize the library, it was constructed by highly trained local laborers.Jahad Metro Plaza. Image © Aga Khan Trust for Culture / Deed Studio (photographer)IranJahad Metro Plaza in Tehran, by KA Architecture StudioKA Architecture Studio's Jahad Metro Plaza in Tehran was constructed to replace the dilapidated old buildings. It turned the location into a beloved pedestrian-friendly landmark. The arched vaults, which are covered in locally manufactured brick, vary in height to let air and light into the area they are protecting.Khan Jaljulia Restoration. Image © Aga Khan Trust for Culture / Mikaela Burstow (photographer)IsraelKhan Jaljulia Restoration in Jaljulia by Elias KhuriElias Khuri's Khan Jaljulia Restoration is a cost-effective intervention set amidst the remnants of a 14th-century Khan in Jaljulia. By converting the abandoned historical location into a bustling public area for social gatherings, it helps the locals rediscover their cultural history.Campus Startup Lions. Image © Aga Khan Trust for Culture / Christopher Wilton-Steer (photographer)KenyaCampus Startup Lions, in Turkana by Kéré ArchitectsKéré Architecture's Campus Startup Lions in Turkana is an educational and entrepreneurial center that offers a venue for community involvement, business incubation, and technology-driven education. The design incorporates solar energy, rainwater harvesting, and tall ventilation towers that resemble the nearby termite mounds, and it was constructed using local volcanic stone.Lalla Yeddouna Square. Image © Aga Khan Trust for Culture / Amine Houari (photographer)MoroccoRevitalisation of Lalla Yeddouna Square in the medina of Fez, by Mossessian Architecture and Yassir Khalil StudioMossessian Architecture and Yassir Khalil Studio's revitalization of Lalla Yeddouna Square in the Fez medina aims to improve pedestrian circulation and reestablish a connection to the waterfront. For the benefit of locals, craftspeople, and tourists from around the globe, existing buildings were maintained and new areas created.Vision Pakistan. Image © Aga Khan Trust for Culture / Usman Saqib Zuberi (photographer)PakistanVision Pakistan, in Islamabad by DB Studios / Mohammad Saifullah SiddiquiA tailoring training center run by Vision Pakistan, a nonprofit organization dedicated to empowering underprivileged adolescents, is located in Islamabad by DB Studios/Mohammad Saifullah Siddiqui. Situated in a crowded neighborhood, this multi-story building features flashy jaalis influenced by Arab and Pakistani crafts, echoing the city's 1960s design.Denso Hall Rahguzar Project. Image © Aga Khan Trust for Culture / Usman Saqib Zuberi (photographer)PakistanDenso Hall Rahguzar Project, in Karachi by Heritage Foundation Pakistan / Yasmeen LariThe Heritage Foundation of Pakistan/Yasmeen Lari's Denso Hall Rahguzar Project in Karachi is a heritage-led eco-urban enclave that was built with low-carbon materials in response to the city's severe climate, which is prone to heat waves and floods. The freshly planted "forests" are irrigated by the handcrafted terracotta cobbles, which absorb rainfall and cool and purify the air.Wonder Cabinet. Image © Aga Khan Trust for Culture / Mikaela Burstow (photographer)PalestineWonder Cabinet, in Bethlehem by AAU AnastasThe architects at AAU Anastas established Wonder Cabinet, a multifunctional, nonprofit exhibition and production venue in Bethlehem. The three-story concrete building was constructed with the help of regional contractors and artisans, and it is quickly emerging as a major center for learning, design, craft, and innovation.The Ned. Image © Aga Khan Trust for Culture / Cemal Emden (photographer)QatarThe Ned Hotel, in Doha by David Chipperfield ArchitectsThe Ministry of Interior was housed in the Ned Hotel in Doha, which was designed by David Chipperfield Architects. Its Middle Eastern brutalist building was meticulously transformed into a 90-room boutique hotel, thereby promoting architectural revitalization in the region.Shamalat Cultural Centre. Image © Aga Khan Trust for Culture / Hassan Al Shatti (photographer)Saudi ArabiaShamalat Cultural Centre, in Riyadh, by Syn Architects / Sara Alissa, Nojoud AlsudairiOn the outskirts of Diriyah, the Shamalat Cultural Centre in Riyadh was created by Syn Architects/Sara Alissa, Nojoud Alsudairi. It was created from an old mud home that artist Maha Malluh had renovated. The center, which aims to incorporate historic places into daily life, provides a sensitive viewpoint on heritage conservation in the area by contrasting the old and the contemporary.Rehabilitation and Extension of Dakar Railway Station. Image © Aga Khan Trust for Culture / Sylvain Cherkaoui (photographer)SenegalRehabilitation and Extension of Dakar Railway Station, in Dakar by Ga2DIn order to accommodate the passengers of a new express train line, Ga2D extended and renovated Dakar train Station, which purposefully contrasts the old and modern buildings. The forecourt was once again open to pedestrian traffic after vehicular traffic was limited to the rear of the property.Rami Library. Image © Aga Khan Trust for Culture / Cemal Emden (photographer)TürkiyeRami Library, by Han Tümertekin Design & ConsultancyThe largest library in Istanbul is the Rami Library, designed by Han Tümertekin Design & Consultancy. It occupied the former Rami Barracks, a sizable, single-story building with enormous volumes that was constructed in the eighteenth century. In order to accommodate new library operations while maintaining the structure's original spatial features, a minimal intervention method was used.Morocco Pavilion Expo Dubai 2020. Image © Aga Khan Trust for Culture / Deed Studio (photographer)United Arab EmiratesMorocco Pavilion Expo Dubai 2020, by Oualalou + ChoiOualalou + Choi's Morocco Pavilion Expo Dubai 2020 is intended to last beyond Expo 2020 and be transformed into a cultural center. The pavilion is a trailblazer in the development of large-scale rammed earth building techniques. Its use of passive cooling techniques, which minimize the need for mechanical air conditioning, earned it the gold LEED accreditation.At each project location, independent professionals such as architects, conservation specialists, planners, and structural engineers have conducted thorough evaluations of the nominated projects. This summer, the Master Jury convenes once more to analyze the on-site evaluations and choose the ultimate Award winners.The top image in the article: The Arc at Green School. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer).> via Aga Khan Award for Architecture

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

Al Hajar Mountains in OmanL_B_Photography/Shutters​tock A section of Earth’s mantle beneath Oman appears to be unusually warm, in what researchers say may be the first known “ghost plume” – a column of hot rock emanating from the lower mantle without apparent volcanic activity on the surface. Mantle plumes are mysterious upwellings of molten rock believed to transmit heat from the core-mantle boundary to the Earth’s surface, far from the edges of tectonic plates. There are a dozen or so examples thought to occur underneath the middle of continental plates – for instance, beneath Yellowstone and the East African rift. “But these are all cases where you do have surface volcanism,” says Simone Pilia at the King Fahd University of Petroleum and Minerals in Saudi Arabia. Oman has no such volcanic clues. Pilia first came to suspect there was a plume beneath Oman “serendipitously” after he began analysing new seismic data from the region. He observed the velocity of waves generated by distant earthquakes slowed down in a cylindrical area beneath eastern Oman, indicating the rocks there were less rigid than the surrounding material due to high temperatures. Other independent seismic measurements showed key boundaries where minerals deep in the Earth change phases in a way consistent with a hot plume. These measurements suggest the plume extends more than 660 kilometres below the surface. The presence of a plume could also explain why the region has continued to rise in elevation long after tectonic compression – a geological process where the Earth’s crust is squeezed together – stopped. It also fits with models of what could have caused a shift in the movement of the Indian tectonic plate. “The more we gathered evidence, the more we were convinced that it is a plume,” says Pilia, who named the geologic feature the “Dani plume” after his son. Unmissable news about our planet delivered straight to your inbox every month. Sign up to newsletter “It’s plausible” that a plume indeed exists there, says Saskia Goes at Imperial College London, adding the study is “thorough”. However, she points out narrow plumes are notoriously difficult to detect. If it does exist, however, the presence of a “ghost plume” contained within the mantle by the relatively thick rocky layer beneath Oman would suggest there are others, says Pilia. “We’re convinced that the Dani plume is not alone.” If there are many other hidden plumes, it could mean more heat from the core is flowing directly through the mantle via plumes, rather than through slower convection, says Goes. “It has implications, potentially, for the evolution of the Earth if we get a different estimate of how much heat comes out of the mantle.” Journal referenceEarth and Planetary Science Letters DOI: 10.1016/j.epsl.2025.119467 Topics: