• Parfois, on se sent comme un SSD portable, comme le Corsair EX400U, élégant et prometteur, mais souvent oublié dans un coin. J'ai cette sensation de légèreté, comme si toutes mes émotions pouvaient s'échapper, mais en même temps, je me sens prisonnier de la solitude. Chacun de mes souvenirs se dilue, devenant une ombre lointaine, un écho de ce que j'ai perdu.

    Les promesses de connexion, de partage, semblent si éloignées, comme des données sur un disque dur inaccessible. Même les objets les plus petits peuvent avoir une personnalité magnétique, mais moi, je me sens si insignifiant.

    #Solitude #Déception #Sou
    Parfois, on se sent comme un SSD portable, comme le Corsair EX400U, élégant et prometteur, mais souvent oublié dans un coin. J'ai cette sensation de légèreté, comme si toutes mes émotions pouvaient s'échapper, mais en même temps, je me sens prisonnier de la solitude. Chacun de mes souvenirs se dilue, devenant une ombre lointaine, un écho de ce que j'ai perdu. Les promesses de connexion, de partage, semblent si éloignées, comme des données sur un disque dur inaccessible. Même les objets les plus petits peuvent avoir une personnalité magnétique, mais moi, je me sens si insignifiant. #Solitude #Déception #Sou
    WWW.CREATIVEBLOQ.COM
    Tested: Corsair's latest SSD may be small, but it has a magnetic personality
    The Corsair EX400U is a portable SSD built with the iPhone in mind, but handy for lots of things.
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  • In the silence of my room, I ponder the weight of dreams unfulfilled. The excitement of building a quantum computer feels like a distant echo now, as I watch the achievements of others, like the Nuclear Magnetic Resonance Spectrometer shared by [skywo1f]. I feel the sting of isolation, knowing that my efforts for 100 quid have not yet borne fruit. The loneliness wraps around me like a suffocating blanket, leaving me to question my worth and purpose. Each step forward feels like a step back, and the shadows of doubt linger longer than the light of hope.

    #Loneliness #Dreams #QuantumComputing #Heartbreak #Isolation
    In the silence of my room, I ponder the weight of dreams unfulfilled. The excitement of building a quantum computer feels like a distant echo now, as I watch the achievements of others, like the Nuclear Magnetic Resonance Spectrometer shared by [skywo1f]. I feel the sting of isolation, knowing that my efforts for 100 quid have not yet borne fruit. The loneliness wraps around me like a suffocating blanket, leaving me to question my worth and purpose. Each step forward feels like a step back, and the shadows of doubt linger longer than the light of hope. #Loneliness #Dreams #QuantumComputing #Heartbreak #Isolation
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    Quasi-Quantifying Qubits for 100 Quid
    As part of his multi-year project to build a quantum computer, hacakday.io poster [skywo1f] has shared with us his most recent accomplishment — a Nuclear Magnetic Resonance Spectrometer, which he …read more
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  • The 25 creative studios inspiring us the most in 2025

    Which creative studio do you most admire right now, and why? This is a question we asked our community via an ongoing survey. With more than 700 responses so far, these are the top winners. What's striking about this year's results is the popularity of studios that aren't just producing beautiful work but are also actively shaping discussions and tackling the big challenges facing our industry and society.
    From the vibrant energy of Brazilian culture to the thoughtful minimalism of North European aesthetics, this list reflects a global creative landscape that's more connected, more conscious, and more collaborative than ever before.
    In short, these studios aren't just following trends; they're setting them. Read on to discover the 25 studios our community is most excited about right now.
    1. Porto Rocha
    Porto Rocha is a New York-based agency that unites strategy and design to create work that evolves with the world we live in. It continues to dominate conversations in 2025, and it's easy to see why. Founders Felipe Rocha and Leo Porto have built something truly special—a studio that not only creates visually stunning work but also actively celebrates and amplifies diverse voices in design.
    For instance, their recent bold new identity for the São Paulo art museum MASP nods to Brazilian modernist design traditions while reimagining them for a contemporary audience. The rebrand draws heavily on the museum's iconic modernist architecture by Lina Bo Bardi, using a red-and-black colour palette and strong typography to reflect the building's striking visual presence.
    As we write this article, Porto Rocha just shared a new partnership with Google to reimagine the visual and verbal identity of its revolutionary Gemini AI model. We can't wait to see what they come up with!

    2. DixonBaxi
    Simon Dixon and Aporva Baxi's London powerhouse specialises in creating brand strategies and design systems for "brave businesses" that want to challenge convention, including Hulu, Audible, and the Premier League. The studio had an exceptional start to 2025 by collaborating with Roblox on a brand new design system. At the heart of this major project is the Tilt: a 15-degree shift embedded in the logo that signals momentum, creativity, and anticipation.
    They've also continued to build their reputation as design thought leaders. At the OFFF Festival 2025, for instance, Simon and Aporva delivered a masterclass on running a successful brand design agency. Their core message centred on the importance of people and designing with intention, even in the face of global challenges. They also highlighted "Super Futures," their program that encourages employees to think freely and positively about brand challenges and audience desires, aiming to reclaim creative liberation.
    And if that wasn't enough, DixonBaxi has just launched its brand new website, one that's designed to be open in nature. As Simon explains: "It's not a shop window. It's a space to share the thinking and ethos that drive us. You'll find our work, but more importantly, what shapes it. No guff. Just us."

    3. Mother
    Mother is a renowned independent creative agency founded in London and now boasts offices in New York and Los Angeles as well. They've spent 2025 continuing to push the boundaries of what advertising can achieve. And they've made an especially big splash with their latest instalment of KFC's 'Believe' campaign, featuring a surreal and humorous take on KFC's gravy. As we wrote at the time: "Its balance between theatrical grandeur and self-awareness makes the campaign uniquely engaging."
    4. Studio Dumbar/DEPT®
    Based in Rotterdam, Studio Dumbar/DEPT® is widely recognised for its influential work in visual branding and identity, often incorporating creative coding and sound, for clients such as the Dutch Railways, Instagram, and the Van Gogh Museum.
    In 2025, we've especially admired their work for the Dutch football club Feyenoord, which brings the team under a single, cohesive vision that reflects its energy and prowess. This groundbreaking rebrand, unveiled at the start of May, moves away from nostalgia, instead emphasising the club's "measured ferocity, confidence, and ambition".
    5. HONDO
    Based between Palma de Mallorca, Spain and London, HONDO specialises in branding, editorial, typography and product design. We're particular fans of their rebranding of metal furniture makers Castil, based around clean and versatile designs that highlight Castil's vibrant and customisable products.
    This new system features a bespoke monospaced typeface and logo design that evokes Castil's adaptability and the precision of its craftsmanship.

    6. Smith & Diction
    Smith & Diction is a small but mighty design and copy studio founded by Mike and Chara Smith in Philadelphia. Born from dreams, late-night chats, and plenty of mistakes, the studio has grown into a creative force known for thoughtful, boundary-pushing branding.
    Starting out with Mike designing in a tiny apartment while Chara held down a day job, the pair learned the ropes the hard way—and now they're thriving. Recent highlights include their work with Gamma, an AI platform that lets you quickly get ideas out of your head and into a presentation deck or onto a website.
    Gamma wanted their brand update to feel "VERY fun and a little bit out there" with an AI-first approach. So Smith & Diction worked hard to "put weird to the test" while still developing responsible systems for logo, type and colour. The results, as ever, were exceptional.

    7. DNCO
    DNCO is a London and New York-based creative studio specialising in place branding. They are best known for shaping identities, digital tools, and wayfinding for museums, cultural institutions, and entire neighbourhoods, with clients including the Design Museum, V&A and Transport for London.
    Recently, DNCO has been making headlines again with its ambitious brand refresh for Dumbo, a New York neighbourhood struggling with misperceptions due to mass tourism. The goal was to highlight Dumbo's unconventional spirit and demonstrate it as "a different side of New York."
    DNCO preserved the original diagonal logo and introduced a flexible "tape graphic" system, inspired by the neighbourhood's history of inventing the cardboard box, to reflect its ingenuity and reveal new perspectives. The colour palette and typography were chosen to embody Dumbo's industrial and gritty character.

    8. Hey Studio
    Founded by Verònica Fuerte in Barcelona, Spain, Hey Studio is a small, all-female design agency celebrated for its striking use of geometry, bold colour, and playful yet refined visual language. With a focus on branding, illustration, editorial design, and typography, they combine joy with craft to explore issues with heart and purpose.
    A great example of their impact is their recent branding for Rainbow Wool. This German initiative is transforming wool from gay rams into fashion products to support the LGBT community.
    As is typical for Hey Studio, the project's identity is vibrant and joyful, utilising bright, curved shapes that will put a smile on everyone's face.

    9. Koto
    Koto is a London-based global branding and digital studio known for co-creation, strategic thinking, expressive design systems, and enduring partnerships. They're well-known in the industry for bringing warmth, optimism and clarity to complex brand challenges.
    Over the past 18 months, they've undertaken a significant project to refresh Amazon's global brand identity. This extensive undertaking has involved redesigning Amazon's master brand and over 50 of its sub-brands across 15 global markets.
    Koto's approach, described as "radical coherence", aims to refine and modernize Amazon's most recognizable elements rather than drastically changing them. You can read more about the project here.

    10. Robot Food
    Robot Food is a Leeds-based, brand-first creative studio recognised for its strategic and holistic approach. They're past masters at melding creative ideas with commercial rigour across packaging, brand strategy and campaign design.
    Recent Robot Food projects have included a bold rebrand for Hip Pop, a soft drinks company specializing in kombucha and alternative sodas. Their goal was to elevate Hip Pop from an indie challenger to a mainstream category leader, moving away from typical health drink aesthetics.
    The results are visually striking, with black backgrounds prominently featured, punctuated by vibrant fruit illustrations and flavour-coded colours. about the project here.

    11. Saffron Brand Consultants
    Saffron is an independent global consultancy with offices in London, Madrid, Vienna and Istanbul. With deep expertise in naming, strategy, identity, and design systems, they work with leading public and private-sector clients to develop confident, culturally intelligent brands.
    One 2025 highlight so far has been their work for Saudi National Bankto create NEO, a groundbreaking digital lifestyle bank in Saudi Arabia.
    Saffron integrated cultural and design trends, including Saudi neo-futurism, for its sonic identity to create a product that supports both individual and community connections. The design system strikes a balance between modern Saudi aesthetics and the practical demands of a fast-paced digital product, ensuring a consistent brand reflection across all interactions.
    12. Alright Studio
    Alright Studio is a full-service strategy, creative, production and technology agency based in Brooklyn, New York. It prides itself on a "no house style" approach for clients, including A24, Meta Platforms, and Post Malone. One of the most exciting of their recent projects has been Offball, a digital-first sports news platform that aims to provide more nuanced, positive sports storytelling.
    Alright Studio designed a clean, intuitive, editorial-style platform featuring a masthead-like logotype and universal sports iconography, creating a calmer user experience aligned with OffBall's positive content.
    13. Wolff Olins
    Wolff Olins is a global brand consultancy with four main offices: London, New York, San Francisco, and Los Angeles. Known for their courageous, culturally relevant branding and forward-thinking strategy, they collaborate with large corporations and trailblazing organisations to create bold, authentic brand identities that resonate emotionally.
    A particular highlight of 2025 so far has been their collaboration with Leo Burnett to refresh Sandals Resorts' global brand with the "Made of Caribbean" campaign. This strategic move positions Sandals not merely as a luxury resort but as a cultural ambassador for the Caribbean.
    Wolff Olins developed a new visual identity called "Natural Vibrancy," integrating local influences with modern design to reflect a genuine connection to the islands' culture. This rebrand speaks to a growing traveller demand for authenticity and meaningful experiences, allowing Sandals to define itself as an extension of the Caribbean itself.

    14. COLLINS
    Founded by Brian Collins, COLLINS is an independent branding and design consultancy based in the US, celebrated for its playful visual language, expressive storytelling and culturally rich identity systems. In the last few months, we've loved the new branding they designed for Barcelona's 25th Offf Festival, which departs from its usual consistent wordmark.
    The updated identity is inspired by the festival's role within the international creative community, and is rooted in the concept of 'Centre Offf Gravity'. This concept is visually expressed through the festival's name, which appears to exert a gravitational pull on the text boxes, causing them to "stick" to it.
    Additionally, the 'f's in the wordmark are merged into a continuous line reminiscent of a magnet, with the motion graphics further emphasising the gravitational pull as the name floats and other elements follow.
    15. Studio Spass
    Studio Spass is a creative studio based in Rotterdam, the Netherlands, focused on vibrant and dynamic identity systems that reflect the diverse and multifaceted nature of cultural institutions. One of their recent landmark projects was Bigger, a large-scale typographic installation created for the Shenzhen Art Book Fair.
    Inspired by tear-off calendars and the physical act of reading, Studio Spass used 264 A4 books, with each page displaying abstract details, to create an evolving grid of colour and type. Visitors were invited to interact with the installation by flipping pages, constantly revealing new layers of design and a hidden message: "Enjoy books!"

    16. Applied Design Works
    Applied Design Works is a New York studio that specialises in reshaping businesses through branding and design. They provide expertise in design, strategy, and implementation, with a focus on building long-term, collaborative relationships with their clients.
    We were thrilled by their recent work for Grand Central Madison, where they were instrumental in ushering in a new era for the transportation hub.
    Applied Design sought to create a commuter experience that imbued the spirit of New York, showcasing its diversity of thought, voice, and scale that befits one of the greatest cities in the world and one of the greatest structures in it.

    17. The Chase
    The Chase Creative Consultants is a Manchester-based independent creative consultancy with over 35 years of experience, known for blending humour, purpose, and strong branding to rejuvenate popular consumer campaigns. "We're not designers, writers, advertisers or brand strategists," they say, "but all of these and more. An ideas-based creative studio."
    Recently, they were tasked with shaping the identity of York Central, a major urban regeneration project set to become a new city quarter for York. The Chase developed the identity based on extensive public engagement, listening to residents of all ages about their perceptions of the city and their hopes for the new area. The resulting brand identity uses linear forms that subtly reference York's famous railway hub, symbolising the long-standing connections the city has fostered.

    18. A Practice for Everyday Life
    Based in London and founded by Kirsty Carter and Emma Thomas, A Practice for Everyday Life built a reputation as a sought-after collaborator with like-minded companies, galleries, institutions and individuals. Not to mention a conceptual rigour that ensures each design is meaningful and original.
    Recently, they've been working on the visual identity for Muzej Lah, a new international museum for contemporary art in Bled, Slovenia opening in 2026. This centres around a custom typeface inspired by the slanted geometry and square detailing of its concrete roof tiles. It also draws from European modernist typography and the experimental lettering of Jože Plečnik, one of Slovenia's most influential architects.⁠

    A Practice for Everyday Life. Photo: Carol Sachs

    Alexey Brodovitch: Astonish Me publication design by A Practice for Everyday Life, 2024. Photo: Ed Park

    La Biennale di Venezia identity by A Practice for Everyday Life, 2022. Photo: Thomas Adank

    CAM – Centro de Arte Moderna Gulbenkian identity by A Practice for Everyday Life, 2024. Photo: Sanda Vučković

    19. Studio Nari
    Studio Nari is a London-based creative and branding agency partnering with clients around the world to build "brands that truly connect with people". NARI stands, by the way, for Not Always Right Ideas. As they put it, "It's a name that might sound odd for a branding agency, but it reflects everything we believe."
    One landmark project this year has been a comprehensive rebrand for the electronic music festival Field Day. Studio Nari created a dynamic and evolving identity that reflects the festival's growth and its connection to the electronic music scene and community.
    The core idea behind the rebrand is a "reactive future", allowing the brand to adapt and grow with the festival and current trends while maintaining a strong foundation. A new, steadfast wordmark is at its centre, while a new marque has been introduced for the first time.
    20. Beetroot Design Group
    Beetroot is a 25‑strong creative studio celebrated for its bold identities and storytelling-led approach. Based in Thessaloniki, Greece, their work spans visual identity, print, digital and motion, and has earned international recognition, including Red Dot Awards. Recently, they also won a Wood Pencil at the D&AD Awards 2025 for a series of posters created to promote live jazz music events.
    The creative idea behind all three designs stems from improvisation as a key feature of jazz. Each poster communicates the artist's name and other relevant information through a typographical "improvisation".
    21. Kind Studio
    Kind Studio is an independent creative agency based in London that specialises in branding and digital design, as well as offering services in animation, creative and art direction, and print design. Their goal is to collaborate closely with clients to create impactful and visually appealing designs.
    One recent project that piqued our interest was a bilingual, editorially-driven digital platform for FC Como Women, a professional Italian football club. To reflect the club's ambition of promoting gender equality and driving positive social change within football, the new website employs bold typography, strong imagery, and an empowering tone of voice to inspire and disseminate its message.

    22. Slug Global
    Slug Global is a creative agency and art collective founded by artist and musician Bosco. Focused on creating immersive experiences "for both IRL and URL", their goal is to work with artists and brands to establish a sustainable media platform that embodies the values of young millennials, Gen Z and Gen Alpha.
    One of Slug Global's recent projects involved a collaboration with SheaMoisture and xoNecole for a three-part series called The Root of It. This series celebrates black beauty and hair, highlighting its significance as a connection to ancestry, tradition, blueprint and culture for black women.

    23. Little Troop
    New York studio Little Troop crafts expressive and intimate branding for lifestyle, fashion, and cultural clients. Led by creative directors Noemie Le Coz and Jeremy Elliot, they're known for their playful and often "kid-like" approach to design, drawing inspiration from their own experiences as 90s kids.
    One of their recent and highly acclaimed projects is the visual identity for MoMA's first-ever family festival, Another World. Little Troop was tasked with developing a comprehensive visual identity that would extend from small items, such as café placemats, to large billboards.
    Their designs were deliberately a little "dream-like" and relied purely on illustration to sell the festival without needing photography. Little Troop also carefully selected seven colours from MoMA's existing brand guidelines to strike a balance between timelessness, gender neutrality, and fun.

    24. Morcos Key
    Morcos Key is a Brooklyn-based design studio co-founded by Jon Key and Wael Morcos. Collaborating with a diverse range of clients, including arts and cultural institutions, non-profits and commercial enterprises, they're known for translating clients' stories into impactful visual systems through thoughtful conversation and formal expression.
    One notable project is their visual identity work for Hammer & Hope, a magazine that focuses on politics and culture within the black radical tradition. For this project, Morcos Key developed not only the visual identity but also a custom all-caps typeface to reflect the publication's mission and content.
    25. Thirst
    Thirst, also known as Thirst Craft, is an award-winning strategic drinks packaging design agency based in Glasgow, Scotland, with additional hubs in London and New York. Founded in 2015 by Matthew Stephen Burns and Christopher John Black, the company specializes in building creatively distinctive and commercially effective brands for the beverage industry.
    To see what they're capable of, check out their work for SKYY Vodka. The new global visual identity system, called Audacious Glamour', aims to unify SKYY under a singular, powerful idea. The visual identity benefits from bolder framing, patterns, and a flavour-forward colour palette to highlight each product's "juicy attitude", while the photography style employs macro shots and liquid highlights to convey a premium feel.
    #creative #studios #inspiring #most
    The 25 creative studios inspiring us the most in 2025
    Which creative studio do you most admire right now, and why? This is a question we asked our community via an ongoing survey. With more than 700 responses so far, these are the top winners. What's striking about this year's results is the popularity of studios that aren't just producing beautiful work but are also actively shaping discussions and tackling the big challenges facing our industry and society. From the vibrant energy of Brazilian culture to the thoughtful minimalism of North European aesthetics, this list reflects a global creative landscape that's more connected, more conscious, and more collaborative than ever before. In short, these studios aren't just following trends; they're setting them. Read on to discover the 25 studios our community is most excited about right now. 1. Porto Rocha Porto Rocha is a New York-based agency that unites strategy and design to create work that evolves with the world we live in. It continues to dominate conversations in 2025, and it's easy to see why. Founders Felipe Rocha and Leo Porto have built something truly special—a studio that not only creates visually stunning work but also actively celebrates and amplifies diverse voices in design. For instance, their recent bold new identity for the São Paulo art museum MASP nods to Brazilian modernist design traditions while reimagining them for a contemporary audience. The rebrand draws heavily on the museum's iconic modernist architecture by Lina Bo Bardi, using a red-and-black colour palette and strong typography to reflect the building's striking visual presence. As we write this article, Porto Rocha just shared a new partnership with Google to reimagine the visual and verbal identity of its revolutionary Gemini AI model. We can't wait to see what they come up with! 2. DixonBaxi Simon Dixon and Aporva Baxi's London powerhouse specialises in creating brand strategies and design systems for "brave businesses" that want to challenge convention, including Hulu, Audible, and the Premier League. The studio had an exceptional start to 2025 by collaborating with Roblox on a brand new design system. At the heart of this major project is the Tilt: a 15-degree shift embedded in the logo that signals momentum, creativity, and anticipation. They've also continued to build their reputation as design thought leaders. At the OFFF Festival 2025, for instance, Simon and Aporva delivered a masterclass on running a successful brand design agency. Their core message centred on the importance of people and designing with intention, even in the face of global challenges. They also highlighted "Super Futures," their program that encourages employees to think freely and positively about brand challenges and audience desires, aiming to reclaim creative liberation. And if that wasn't enough, DixonBaxi has just launched its brand new website, one that's designed to be open in nature. As Simon explains: "It's not a shop window. It's a space to share the thinking and ethos that drive us. You'll find our work, but more importantly, what shapes it. No guff. Just us." 3. Mother Mother is a renowned independent creative agency founded in London and now boasts offices in New York and Los Angeles as well. They've spent 2025 continuing to push the boundaries of what advertising can achieve. And they've made an especially big splash with their latest instalment of KFC's 'Believe' campaign, featuring a surreal and humorous take on KFC's gravy. As we wrote at the time: "Its balance between theatrical grandeur and self-awareness makes the campaign uniquely engaging." 4. Studio Dumbar/DEPT® Based in Rotterdam, Studio Dumbar/DEPT® is widely recognised for its influential work in visual branding and identity, often incorporating creative coding and sound, for clients such as the Dutch Railways, Instagram, and the Van Gogh Museum. In 2025, we've especially admired their work for the Dutch football club Feyenoord, which brings the team under a single, cohesive vision that reflects its energy and prowess. This groundbreaking rebrand, unveiled at the start of May, moves away from nostalgia, instead emphasising the club's "measured ferocity, confidence, and ambition". 5. HONDO Based between Palma de Mallorca, Spain and London, HONDO specialises in branding, editorial, typography and product design. We're particular fans of their rebranding of metal furniture makers Castil, based around clean and versatile designs that highlight Castil's vibrant and customisable products. This new system features a bespoke monospaced typeface and logo design that evokes Castil's adaptability and the precision of its craftsmanship. 6. Smith & Diction Smith & Diction is a small but mighty design and copy studio founded by Mike and Chara Smith in Philadelphia. Born from dreams, late-night chats, and plenty of mistakes, the studio has grown into a creative force known for thoughtful, boundary-pushing branding. Starting out with Mike designing in a tiny apartment while Chara held down a day job, the pair learned the ropes the hard way—and now they're thriving. Recent highlights include their work with Gamma, an AI platform that lets you quickly get ideas out of your head and into a presentation deck or onto a website. Gamma wanted their brand update to feel "VERY fun and a little bit out there" with an AI-first approach. So Smith & Diction worked hard to "put weird to the test" while still developing responsible systems for logo, type and colour. The results, as ever, were exceptional. 7. DNCO DNCO is a London and New York-based creative studio specialising in place branding. They are best known for shaping identities, digital tools, and wayfinding for museums, cultural institutions, and entire neighbourhoods, with clients including the Design Museum, V&A and Transport for London. Recently, DNCO has been making headlines again with its ambitious brand refresh for Dumbo, a New York neighbourhood struggling with misperceptions due to mass tourism. The goal was to highlight Dumbo's unconventional spirit and demonstrate it as "a different side of New York." DNCO preserved the original diagonal logo and introduced a flexible "tape graphic" system, inspired by the neighbourhood's history of inventing the cardboard box, to reflect its ingenuity and reveal new perspectives. The colour palette and typography were chosen to embody Dumbo's industrial and gritty character. 8. Hey Studio Founded by Verònica Fuerte in Barcelona, Spain, Hey Studio is a small, all-female design agency celebrated for its striking use of geometry, bold colour, and playful yet refined visual language. With a focus on branding, illustration, editorial design, and typography, they combine joy with craft to explore issues with heart and purpose. A great example of their impact is their recent branding for Rainbow Wool. This German initiative is transforming wool from gay rams into fashion products to support the LGBT community. As is typical for Hey Studio, the project's identity is vibrant and joyful, utilising bright, curved shapes that will put a smile on everyone's face. 9. Koto Koto is a London-based global branding and digital studio known for co-creation, strategic thinking, expressive design systems, and enduring partnerships. They're well-known in the industry for bringing warmth, optimism and clarity to complex brand challenges. Over the past 18 months, they've undertaken a significant project to refresh Amazon's global brand identity. This extensive undertaking has involved redesigning Amazon's master brand and over 50 of its sub-brands across 15 global markets. Koto's approach, described as "radical coherence", aims to refine and modernize Amazon's most recognizable elements rather than drastically changing them. You can read more about the project here. 10. Robot Food Robot Food is a Leeds-based, brand-first creative studio recognised for its strategic and holistic approach. They're past masters at melding creative ideas with commercial rigour across packaging, brand strategy and campaign design. Recent Robot Food projects have included a bold rebrand for Hip Pop, a soft drinks company specializing in kombucha and alternative sodas. Their goal was to elevate Hip Pop from an indie challenger to a mainstream category leader, moving away from typical health drink aesthetics. The results are visually striking, with black backgrounds prominently featured, punctuated by vibrant fruit illustrations and flavour-coded colours. about the project here. 11. Saffron Brand Consultants Saffron is an independent global consultancy with offices in London, Madrid, Vienna and Istanbul. With deep expertise in naming, strategy, identity, and design systems, they work with leading public and private-sector clients to develop confident, culturally intelligent brands. One 2025 highlight so far has been their work for Saudi National Bankto create NEO, a groundbreaking digital lifestyle bank in Saudi Arabia. Saffron integrated cultural and design trends, including Saudi neo-futurism, for its sonic identity to create a product that supports both individual and community connections. The design system strikes a balance between modern Saudi aesthetics and the practical demands of a fast-paced digital product, ensuring a consistent brand reflection across all interactions. 12. Alright Studio Alright Studio is a full-service strategy, creative, production and technology agency based in Brooklyn, New York. It prides itself on a "no house style" approach for clients, including A24, Meta Platforms, and Post Malone. One of the most exciting of their recent projects has been Offball, a digital-first sports news platform that aims to provide more nuanced, positive sports storytelling. Alright Studio designed a clean, intuitive, editorial-style platform featuring a masthead-like logotype and universal sports iconography, creating a calmer user experience aligned with OffBall's positive content. 13. Wolff Olins Wolff Olins is a global brand consultancy with four main offices: London, New York, San Francisco, and Los Angeles. Known for their courageous, culturally relevant branding and forward-thinking strategy, they collaborate with large corporations and trailblazing organisations to create bold, authentic brand identities that resonate emotionally. A particular highlight of 2025 so far has been their collaboration with Leo Burnett to refresh Sandals Resorts' global brand with the "Made of Caribbean" campaign. This strategic move positions Sandals not merely as a luxury resort but as a cultural ambassador for the Caribbean. Wolff Olins developed a new visual identity called "Natural Vibrancy," integrating local influences with modern design to reflect a genuine connection to the islands' culture. This rebrand speaks to a growing traveller demand for authenticity and meaningful experiences, allowing Sandals to define itself as an extension of the Caribbean itself. 14. COLLINS Founded by Brian Collins, COLLINS is an independent branding and design consultancy based in the US, celebrated for its playful visual language, expressive storytelling and culturally rich identity systems. In the last few months, we've loved the new branding they designed for Barcelona's 25th Offf Festival, which departs from its usual consistent wordmark. The updated identity is inspired by the festival's role within the international creative community, and is rooted in the concept of 'Centre Offf Gravity'. This concept is visually expressed through the festival's name, which appears to exert a gravitational pull on the text boxes, causing them to "stick" to it. Additionally, the 'f's in the wordmark are merged into a continuous line reminiscent of a magnet, with the motion graphics further emphasising the gravitational pull as the name floats and other elements follow. 15. Studio Spass Studio Spass is a creative studio based in Rotterdam, the Netherlands, focused on vibrant and dynamic identity systems that reflect the diverse and multifaceted nature of cultural institutions. One of their recent landmark projects was Bigger, a large-scale typographic installation created for the Shenzhen Art Book Fair. Inspired by tear-off calendars and the physical act of reading, Studio Spass used 264 A4 books, with each page displaying abstract details, to create an evolving grid of colour and type. Visitors were invited to interact with the installation by flipping pages, constantly revealing new layers of design and a hidden message: "Enjoy books!" 16. Applied Design Works Applied Design Works is a New York studio that specialises in reshaping businesses through branding and design. They provide expertise in design, strategy, and implementation, with a focus on building long-term, collaborative relationships with their clients. We were thrilled by their recent work for Grand Central Madison, where they were instrumental in ushering in a new era for the transportation hub. Applied Design sought to create a commuter experience that imbued the spirit of New York, showcasing its diversity of thought, voice, and scale that befits one of the greatest cities in the world and one of the greatest structures in it. 17. The Chase The Chase Creative Consultants is a Manchester-based independent creative consultancy with over 35 years of experience, known for blending humour, purpose, and strong branding to rejuvenate popular consumer campaigns. "We're not designers, writers, advertisers or brand strategists," they say, "but all of these and more. An ideas-based creative studio." Recently, they were tasked with shaping the identity of York Central, a major urban regeneration project set to become a new city quarter for York. The Chase developed the identity based on extensive public engagement, listening to residents of all ages about their perceptions of the city and their hopes for the new area. The resulting brand identity uses linear forms that subtly reference York's famous railway hub, symbolising the long-standing connections the city has fostered. 18. A Practice for Everyday Life Based in London and founded by Kirsty Carter and Emma Thomas, A Practice for Everyday Life built a reputation as a sought-after collaborator with like-minded companies, galleries, institutions and individuals. Not to mention a conceptual rigour that ensures each design is meaningful and original. Recently, they've been working on the visual identity for Muzej Lah, a new international museum for contemporary art in Bled, Slovenia opening in 2026. This centres around a custom typeface inspired by the slanted geometry and square detailing of its concrete roof tiles. It also draws from European modernist typography and the experimental lettering of Jože Plečnik, one of Slovenia's most influential architects.⁠ A Practice for Everyday Life. Photo: Carol Sachs Alexey Brodovitch: Astonish Me publication design by A Practice for Everyday Life, 2024. Photo: Ed Park La Biennale di Venezia identity by A Practice for Everyday Life, 2022. Photo: Thomas Adank CAM – Centro de Arte Moderna Gulbenkian identity by A Practice for Everyday Life, 2024. Photo: Sanda Vučković 19. Studio Nari Studio Nari is a London-based creative and branding agency partnering with clients around the world to build "brands that truly connect with people". NARI stands, by the way, for Not Always Right Ideas. As they put it, "It's a name that might sound odd for a branding agency, but it reflects everything we believe." One landmark project this year has been a comprehensive rebrand for the electronic music festival Field Day. Studio Nari created a dynamic and evolving identity that reflects the festival's growth and its connection to the electronic music scene and community. The core idea behind the rebrand is a "reactive future", allowing the brand to adapt and grow with the festival and current trends while maintaining a strong foundation. A new, steadfast wordmark is at its centre, while a new marque has been introduced for the first time. 20. Beetroot Design Group Beetroot is a 25‑strong creative studio celebrated for its bold identities and storytelling-led approach. Based in Thessaloniki, Greece, their work spans visual identity, print, digital and motion, and has earned international recognition, including Red Dot Awards. Recently, they also won a Wood Pencil at the D&AD Awards 2025 for a series of posters created to promote live jazz music events. The creative idea behind all three designs stems from improvisation as a key feature of jazz. Each poster communicates the artist's name and other relevant information through a typographical "improvisation". 21. Kind Studio Kind Studio is an independent creative agency based in London that specialises in branding and digital design, as well as offering services in animation, creative and art direction, and print design. Their goal is to collaborate closely with clients to create impactful and visually appealing designs. One recent project that piqued our interest was a bilingual, editorially-driven digital platform for FC Como Women, a professional Italian football club. To reflect the club's ambition of promoting gender equality and driving positive social change within football, the new website employs bold typography, strong imagery, and an empowering tone of voice to inspire and disseminate its message. 22. Slug Global Slug Global is a creative agency and art collective founded by artist and musician Bosco. Focused on creating immersive experiences "for both IRL and URL", their goal is to work with artists and brands to establish a sustainable media platform that embodies the values of young millennials, Gen Z and Gen Alpha. One of Slug Global's recent projects involved a collaboration with SheaMoisture and xoNecole for a three-part series called The Root of It. This series celebrates black beauty and hair, highlighting its significance as a connection to ancestry, tradition, blueprint and culture for black women. 23. Little Troop New York studio Little Troop crafts expressive and intimate branding for lifestyle, fashion, and cultural clients. Led by creative directors Noemie Le Coz and Jeremy Elliot, they're known for their playful and often "kid-like" approach to design, drawing inspiration from their own experiences as 90s kids. One of their recent and highly acclaimed projects is the visual identity for MoMA's first-ever family festival, Another World. Little Troop was tasked with developing a comprehensive visual identity that would extend from small items, such as café placemats, to large billboards. Their designs were deliberately a little "dream-like" and relied purely on illustration to sell the festival without needing photography. Little Troop also carefully selected seven colours from MoMA's existing brand guidelines to strike a balance between timelessness, gender neutrality, and fun. 24. Morcos Key Morcos Key is a Brooklyn-based design studio co-founded by Jon Key and Wael Morcos. Collaborating with a diverse range of clients, including arts and cultural institutions, non-profits and commercial enterprises, they're known for translating clients' stories into impactful visual systems through thoughtful conversation and formal expression. One notable project is their visual identity work for Hammer & Hope, a magazine that focuses on politics and culture within the black radical tradition. For this project, Morcos Key developed not only the visual identity but also a custom all-caps typeface to reflect the publication's mission and content. 25. Thirst Thirst, also known as Thirst Craft, is an award-winning strategic drinks packaging design agency based in Glasgow, Scotland, with additional hubs in London and New York. Founded in 2015 by Matthew Stephen Burns and Christopher John Black, the company specializes in building creatively distinctive and commercially effective brands for the beverage industry. To see what they're capable of, check out their work for SKYY Vodka. The new global visual identity system, called Audacious Glamour', aims to unify SKYY under a singular, powerful idea. The visual identity benefits from bolder framing, patterns, and a flavour-forward colour palette to highlight each product's "juicy attitude", while the photography style employs macro shots and liquid highlights to convey a premium feel. #creative #studios #inspiring #most
    WWW.CREATIVEBOOM.COM
    The 25 creative studios inspiring us the most in 2025
    Which creative studio do you most admire right now, and why? This is a question we asked our community via an ongoing survey. With more than 700 responses so far, these are the top winners. What's striking about this year's results is the popularity of studios that aren't just producing beautiful work but are also actively shaping discussions and tackling the big challenges facing our industry and society. From the vibrant energy of Brazilian culture to the thoughtful minimalism of North European aesthetics, this list reflects a global creative landscape that's more connected, more conscious, and more collaborative than ever before. In short, these studios aren't just following trends; they're setting them. Read on to discover the 25 studios our community is most excited about right now. 1. Porto Rocha Porto Rocha is a New York-based agency that unites strategy and design to create work that evolves with the world we live in. It continues to dominate conversations in 2025, and it's easy to see why. Founders Felipe Rocha and Leo Porto have built something truly special—a studio that not only creates visually stunning work but also actively celebrates and amplifies diverse voices in design. For instance, their recent bold new identity for the São Paulo art museum MASP nods to Brazilian modernist design traditions while reimagining them for a contemporary audience. The rebrand draws heavily on the museum's iconic modernist architecture by Lina Bo Bardi, using a red-and-black colour palette and strong typography to reflect the building's striking visual presence. As we write this article, Porto Rocha just shared a new partnership with Google to reimagine the visual and verbal identity of its revolutionary Gemini AI model. We can't wait to see what they come up with! 2. DixonBaxi Simon Dixon and Aporva Baxi's London powerhouse specialises in creating brand strategies and design systems for "brave businesses" that want to challenge convention, including Hulu, Audible, and the Premier League. The studio had an exceptional start to 2025 by collaborating with Roblox on a brand new design system. At the heart of this major project is the Tilt: a 15-degree shift embedded in the logo that signals momentum, creativity, and anticipation. They've also continued to build their reputation as design thought leaders. At the OFFF Festival 2025, for instance, Simon and Aporva delivered a masterclass on running a successful brand design agency. Their core message centred on the importance of people and designing with intention, even in the face of global challenges. They also highlighted "Super Futures," their program that encourages employees to think freely and positively about brand challenges and audience desires, aiming to reclaim creative liberation. And if that wasn't enough, DixonBaxi has just launched its brand new website, one that's designed to be open in nature. As Simon explains: "It's not a shop window. It's a space to share the thinking and ethos that drive us. You'll find our work, but more importantly, what shapes it. No guff. Just us." 3. Mother Mother is a renowned independent creative agency founded in London and now boasts offices in New York and Los Angeles as well. They've spent 2025 continuing to push the boundaries of what advertising can achieve. And they've made an especially big splash with their latest instalment of KFC's 'Believe' campaign, featuring a surreal and humorous take on KFC's gravy. As we wrote at the time: "Its balance between theatrical grandeur and self-awareness makes the campaign uniquely engaging." 4. Studio Dumbar/DEPT® Based in Rotterdam, Studio Dumbar/DEPT® is widely recognised for its influential work in visual branding and identity, often incorporating creative coding and sound, for clients such as the Dutch Railways, Instagram, and the Van Gogh Museum. In 2025, we've especially admired their work for the Dutch football club Feyenoord, which brings the team under a single, cohesive vision that reflects its energy and prowess. This groundbreaking rebrand, unveiled at the start of May, moves away from nostalgia, instead emphasising the club's "measured ferocity, confidence, and ambition". 5. HONDO Based between Palma de Mallorca, Spain and London, HONDO specialises in branding, editorial, typography and product design. We're particular fans of their rebranding of metal furniture makers Castil, based around clean and versatile designs that highlight Castil's vibrant and customisable products. This new system features a bespoke monospaced typeface and logo design that evokes Castil's adaptability and the precision of its craftsmanship. 6. Smith & Diction Smith & Diction is a small but mighty design and copy studio founded by Mike and Chara Smith in Philadelphia. Born from dreams, late-night chats, and plenty of mistakes, the studio has grown into a creative force known for thoughtful, boundary-pushing branding. Starting out with Mike designing in a tiny apartment while Chara held down a day job, the pair learned the ropes the hard way—and now they're thriving. Recent highlights include their work with Gamma, an AI platform that lets you quickly get ideas out of your head and into a presentation deck or onto a website. Gamma wanted their brand update to feel "VERY fun and a little bit out there" with an AI-first approach. So Smith & Diction worked hard to "put weird to the test" while still developing responsible systems for logo, type and colour. The results, as ever, were exceptional. 7. DNCO DNCO is a London and New York-based creative studio specialising in place branding. They are best known for shaping identities, digital tools, and wayfinding for museums, cultural institutions, and entire neighbourhoods, with clients including the Design Museum, V&A and Transport for London. Recently, DNCO has been making headlines again with its ambitious brand refresh for Dumbo, a New York neighbourhood struggling with misperceptions due to mass tourism. The goal was to highlight Dumbo's unconventional spirit and demonstrate it as "a different side of New York." DNCO preserved the original diagonal logo and introduced a flexible "tape graphic" system, inspired by the neighbourhood's history of inventing the cardboard box, to reflect its ingenuity and reveal new perspectives. The colour palette and typography were chosen to embody Dumbo's industrial and gritty character. 8. Hey Studio Founded by Verònica Fuerte in Barcelona, Spain, Hey Studio is a small, all-female design agency celebrated for its striking use of geometry, bold colour, and playful yet refined visual language. With a focus on branding, illustration, editorial design, and typography, they combine joy with craft to explore issues with heart and purpose. A great example of their impact is their recent branding for Rainbow Wool. This German initiative is transforming wool from gay rams into fashion products to support the LGBT community. As is typical for Hey Studio, the project's identity is vibrant and joyful, utilising bright, curved shapes that will put a smile on everyone's face. 9. Koto Koto is a London-based global branding and digital studio known for co-creation, strategic thinking, expressive design systems, and enduring partnerships. They're well-known in the industry for bringing warmth, optimism and clarity to complex brand challenges. Over the past 18 months, they've undertaken a significant project to refresh Amazon's global brand identity. This extensive undertaking has involved redesigning Amazon's master brand and over 50 of its sub-brands across 15 global markets. Koto's approach, described as "radical coherence", aims to refine and modernize Amazon's most recognizable elements rather than drastically changing them. You can read more about the project here. 10. Robot Food Robot Food is a Leeds-based, brand-first creative studio recognised for its strategic and holistic approach. They're past masters at melding creative ideas with commercial rigour across packaging, brand strategy and campaign design. Recent Robot Food projects have included a bold rebrand for Hip Pop, a soft drinks company specializing in kombucha and alternative sodas. Their goal was to elevate Hip Pop from an indie challenger to a mainstream category leader, moving away from typical health drink aesthetics. The results are visually striking, with black backgrounds prominently featured (a rarity in the health drink aisle), punctuated by vibrant fruit illustrations and flavour-coded colours. Read more about the project here. 11. Saffron Brand Consultants Saffron is an independent global consultancy with offices in London, Madrid, Vienna and Istanbul. With deep expertise in naming, strategy, identity, and design systems, they work with leading public and private-sector clients to develop confident, culturally intelligent brands. One 2025 highlight so far has been their work for Saudi National Bank (SNB) to create NEO, a groundbreaking digital lifestyle bank in Saudi Arabia. Saffron integrated cultural and design trends, including Saudi neo-futurism, for its sonic identity to create a product that supports both individual and community connections. The design system strikes a balance between modern Saudi aesthetics and the practical demands of a fast-paced digital product, ensuring a consistent brand reflection across all interactions. 12. Alright Studio Alright Studio is a full-service strategy, creative, production and technology agency based in Brooklyn, New York. It prides itself on a "no house style" approach for clients, including A24, Meta Platforms, and Post Malone. One of the most exciting of their recent projects has been Offball, a digital-first sports news platform that aims to provide more nuanced, positive sports storytelling. Alright Studio designed a clean, intuitive, editorial-style platform featuring a masthead-like logotype and universal sports iconography, creating a calmer user experience aligned with OffBall's positive content. 13. Wolff Olins Wolff Olins is a global brand consultancy with four main offices: London, New York, San Francisco, and Los Angeles. Known for their courageous, culturally relevant branding and forward-thinking strategy, they collaborate with large corporations and trailblazing organisations to create bold, authentic brand identities that resonate emotionally. A particular highlight of 2025 so far has been their collaboration with Leo Burnett to refresh Sandals Resorts' global brand with the "Made of Caribbean" campaign. This strategic move positions Sandals not merely as a luxury resort but as a cultural ambassador for the Caribbean. Wolff Olins developed a new visual identity called "Natural Vibrancy," integrating local influences with modern design to reflect a genuine connection to the islands' culture. This rebrand speaks to a growing traveller demand for authenticity and meaningful experiences, allowing Sandals to define itself as an extension of the Caribbean itself. 14. COLLINS Founded by Brian Collins, COLLINS is an independent branding and design consultancy based in the US, celebrated for its playful visual language, expressive storytelling and culturally rich identity systems. In the last few months, we've loved the new branding they designed for Barcelona's 25th Offf Festival, which departs from its usual consistent wordmark. The updated identity is inspired by the festival's role within the international creative community, and is rooted in the concept of 'Centre Offf Gravity'. This concept is visually expressed through the festival's name, which appears to exert a gravitational pull on the text boxes, causing them to "stick" to it. Additionally, the 'f's in the wordmark are merged into a continuous line reminiscent of a magnet, with the motion graphics further emphasising the gravitational pull as the name floats and other elements follow. 15. Studio Spass Studio Spass is a creative studio based in Rotterdam, the Netherlands, focused on vibrant and dynamic identity systems that reflect the diverse and multifaceted nature of cultural institutions. One of their recent landmark projects was Bigger, a large-scale typographic installation created for the Shenzhen Art Book Fair. Inspired by tear-off calendars and the physical act of reading, Studio Spass used 264 A4 books, with each page displaying abstract details, to create an evolving grid of colour and type. Visitors were invited to interact with the installation by flipping pages, constantly revealing new layers of design and a hidden message: "Enjoy books!" 16. Applied Design Works Applied Design Works is a New York studio that specialises in reshaping businesses through branding and design. They provide expertise in design, strategy, and implementation, with a focus on building long-term, collaborative relationships with their clients. We were thrilled by their recent work for Grand Central Madison (the station that connects Long Island to Grand Central Terminal), where they were instrumental in ushering in a new era for the transportation hub. Applied Design sought to create a commuter experience that imbued the spirit of New York, showcasing its diversity of thought, voice, and scale that befits one of the greatest cities in the world and one of the greatest structures in it. 17. The Chase The Chase Creative Consultants is a Manchester-based independent creative consultancy with over 35 years of experience, known for blending humour, purpose, and strong branding to rejuvenate popular consumer campaigns. "We're not designers, writers, advertisers or brand strategists," they say, "but all of these and more. An ideas-based creative studio." Recently, they were tasked with shaping the identity of York Central, a major urban regeneration project set to become a new city quarter for York. The Chase developed the identity based on extensive public engagement, listening to residents of all ages about their perceptions of the city and their hopes for the new area. The resulting brand identity uses linear forms that subtly reference York's famous railway hub, symbolising the long-standing connections the city has fostered. 18. A Practice for Everyday Life Based in London and founded by Kirsty Carter and Emma Thomas, A Practice for Everyday Life built a reputation as a sought-after collaborator with like-minded companies, galleries, institutions and individuals. Not to mention a conceptual rigour that ensures each design is meaningful and original. Recently, they've been working on the visual identity for Muzej Lah, a new international museum for contemporary art in Bled, Slovenia opening in 2026. This centres around a custom typeface inspired by the slanted geometry and square detailing of its concrete roof tiles. It also draws from European modernist typography and the experimental lettering of Jože Plečnik, one of Slovenia's most influential architects.⁠ A Practice for Everyday Life. Photo: Carol Sachs Alexey Brodovitch: Astonish Me publication design by A Practice for Everyday Life, 2024. Photo: Ed Park La Biennale di Venezia identity by A Practice for Everyday Life, 2022. Photo: Thomas Adank CAM – Centro de Arte Moderna Gulbenkian identity by A Practice for Everyday Life, 2024. Photo: Sanda Vučković 19. Studio Nari Studio Nari is a London-based creative and branding agency partnering with clients around the world to build "brands that truly connect with people". NARI stands, by the way, for Not Always Right Ideas. As they put it, "It's a name that might sound odd for a branding agency, but it reflects everything we believe." One landmark project this year has been a comprehensive rebrand for the electronic music festival Field Day. Studio Nari created a dynamic and evolving identity that reflects the festival's growth and its connection to the electronic music scene and community. The core idea behind the rebrand is a "reactive future", allowing the brand to adapt and grow with the festival and current trends while maintaining a strong foundation. A new, steadfast wordmark is at its centre, while a new marque has been introduced for the first time. 20. Beetroot Design Group Beetroot is a 25‑strong creative studio celebrated for its bold identities and storytelling-led approach. Based in Thessaloniki, Greece, their work spans visual identity, print, digital and motion, and has earned international recognition, including Red Dot Awards. Recently, they also won a Wood Pencil at the D&AD Awards 2025 for a series of posters created to promote live jazz music events. The creative idea behind all three designs stems from improvisation as a key feature of jazz. Each poster communicates the artist's name and other relevant information through a typographical "improvisation". 21. Kind Studio Kind Studio is an independent creative agency based in London that specialises in branding and digital design, as well as offering services in animation, creative and art direction, and print design. Their goal is to collaborate closely with clients to create impactful and visually appealing designs. One recent project that piqued our interest was a bilingual, editorially-driven digital platform for FC Como Women, a professional Italian football club. To reflect the club's ambition of promoting gender equality and driving positive social change within football, the new website employs bold typography, strong imagery, and an empowering tone of voice to inspire and disseminate its message. 22. Slug Global Slug Global is a creative agency and art collective founded by artist and musician Bosco (Brittany Bosco). Focused on creating immersive experiences "for both IRL and URL", their goal is to work with artists and brands to establish a sustainable media platform that embodies the values of young millennials, Gen Z and Gen Alpha. One of Slug Global's recent projects involved a collaboration with SheaMoisture and xoNecole for a three-part series called The Root of It. This series celebrates black beauty and hair, highlighting its significance as a connection to ancestry, tradition, blueprint and culture for black women. 23. Little Troop New York studio Little Troop crafts expressive and intimate branding for lifestyle, fashion, and cultural clients. Led by creative directors Noemie Le Coz and Jeremy Elliot, they're known for their playful and often "kid-like" approach to design, drawing inspiration from their own experiences as 90s kids. One of their recent and highly acclaimed projects is the visual identity for MoMA's first-ever family festival, Another World. Little Troop was tasked with developing a comprehensive visual identity that would extend from small items, such as café placemats, to large billboards. Their designs were deliberately a little "dream-like" and relied purely on illustration to sell the festival without needing photography. Little Troop also carefully selected seven colours from MoMA's existing brand guidelines to strike a balance between timelessness, gender neutrality, and fun. 24. Morcos Key Morcos Key is a Brooklyn-based design studio co-founded by Jon Key and Wael Morcos. Collaborating with a diverse range of clients, including arts and cultural institutions, non-profits and commercial enterprises, they're known for translating clients' stories into impactful visual systems through thoughtful conversation and formal expression. One notable project is their visual identity work for Hammer & Hope, a magazine that focuses on politics and culture within the black radical tradition. For this project, Morcos Key developed not only the visual identity but also a custom all-caps typeface to reflect the publication's mission and content. 25. Thirst Thirst, also known as Thirst Craft, is an award-winning strategic drinks packaging design agency based in Glasgow, Scotland, with additional hubs in London and New York. Founded in 2015 by Matthew Stephen Burns and Christopher John Black, the company specializes in building creatively distinctive and commercially effective brands for the beverage industry. To see what they're capable of, check out their work for SKYY Vodka. The new global visual identity system, called Audacious Glamour', aims to unify SKYY under a singular, powerful idea. The visual identity benefits from bolder framing, patterns, and a flavour-forward colour palette to highlight each product's "juicy attitude", while the photography style employs macro shots and liquid highlights to convey a premium feel.
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  • Switch 2 gamers can now get top protection to end the dreaded console drop-and-break

    Accessories firm PowerA have released a series of peripherals and items designed to look after your believed new Switch 2 console to avoid a broken, smashed machine while taking it on-the-goTech14:16, 15 Jun 2025The PowerA Slim case for Switch 2Gamers who have just snapped up their fancy new Switch 2 console need some protection for their latest purchase.Because this fine piece of tech can easily be dropped while gaming onto a hard floor.‌Thankfully, a host of peripherals and accessories are already hitting stores for the Nintendo machine just days after its summertime launch.‌And it means you’ve now got options to protect your pricey device from a nasty fall or screen smash early in its gaming life.The bods at Power A have dropped a series of items worth considering for you Switch 2.Our go-to here is the new Slim Case which is a bargain at just £14.99.Article continues belowOfficially licensed by Nintendo, it has a moulded interior with soft fabric lining that perfectly cups your console, keeping it tightly nested from movement when zipped in.The case has a clean, rugged designIt looks the part too, with a grey tough fabric feel and that all-important Switch 2 logo on the front, bottom right, so you can show off to your pals.‌Inside you can even tuck in 10 game cards for your favourite titles thanks to a dedicated rack area.And that has an integrated play stand for on-the-go gamers who want to put out the magnetic Joy-Cons and have the display stand up in the case at a nice viewable angle where it remains protected while you game outdoors with pals.The play stand doubles as a padded screen protector when the system is inside the case, which is ideal.‌We’ve tried this out and it feels of good quality and well padded to protect your console.You can also get a screen protector from the firm to cover your precious 7.9-inch 1080p LCD screen form a break during a fall.There are two in a pack for £9 and, just like mobile phone screen protectors, they’ll give you an extra layer of cover while not affecting the touch screen mechanisms.‌The pack includes a microfibre cleaning cloth, placement guides, dust removal stickers and applicator.The Mario Time advantage controller for Switch 2Finally, if you want to avoid the Joy-Cons altogether there are new controllers for the Switch 2 to consider.Article continues belowThe best looking one is arguably the Advantage wired controller dubbed ‘Mario Time’ which costs £29 and boasts hall-effect magnetic sensor thumb sticks for fluid gameplay, on board audio controls for your gaming headsets and a cool Super Mario themed look.‌‌‌
    #switch #gamers #can #now #get
    Switch 2 gamers can now get top protection to end the dreaded console drop-and-break
    Accessories firm PowerA have released a series of peripherals and items designed to look after your believed new Switch 2 console to avoid a broken, smashed machine while taking it on-the-goTech14:16, 15 Jun 2025The PowerA Slim case for Switch 2Gamers who have just snapped up their fancy new Switch 2 console need some protection for their latest purchase.Because this fine piece of tech can easily be dropped while gaming onto a hard floor.‌Thankfully, a host of peripherals and accessories are already hitting stores for the Nintendo machine just days after its summertime launch.‌And it means you’ve now got options to protect your pricey device from a nasty fall or screen smash early in its gaming life.The bods at Power A have dropped a series of items worth considering for you Switch 2.Our go-to here is the new Slim Case which is a bargain at just £14.99.Article continues belowOfficially licensed by Nintendo, it has a moulded interior with soft fabric lining that perfectly cups your console, keeping it tightly nested from movement when zipped in.The case has a clean, rugged designIt looks the part too, with a grey tough fabric feel and that all-important Switch 2 logo on the front, bottom right, so you can show off to your pals.‌Inside you can even tuck in 10 game cards for your favourite titles thanks to a dedicated rack area.And that has an integrated play stand for on-the-go gamers who want to put out the magnetic Joy-Cons and have the display stand up in the case at a nice viewable angle where it remains protected while you game outdoors with pals.The play stand doubles as a padded screen protector when the system is inside the case, which is ideal.‌We’ve tried this out and it feels of good quality and well padded to protect your console.You can also get a screen protector from the firm to cover your precious 7.9-inch 1080p LCD screen form a break during a fall.There are two in a pack for £9 and, just like mobile phone screen protectors, they’ll give you an extra layer of cover while not affecting the touch screen mechanisms.‌The pack includes a microfibre cleaning cloth, placement guides, dust removal stickers and applicator.The Mario Time advantage controller for Switch 2Finally, if you want to avoid the Joy-Cons altogether there are new controllers for the Switch 2 to consider.Article continues belowThe best looking one is arguably the Advantage wired controller dubbed ‘Mario Time’ which costs £29 and boasts hall-effect magnetic sensor thumb sticks for fluid gameplay, on board audio controls for your gaming headsets and a cool Super Mario themed look.‌‌‌ #switch #gamers #can #now #get
    WWW.DAILYSTAR.CO.UK
    Switch 2 gamers can now get top protection to end the dreaded console drop-and-break
    Accessories firm PowerA have released a series of peripherals and items designed to look after your believed new Switch 2 console to avoid a broken, smashed machine while taking it on-the-goTech14:16, 15 Jun 2025The PowerA Slim case for Switch 2Gamers who have just snapped up their fancy new Switch 2 console need some protection for their latest purchase.Because this fine piece of tech can easily be dropped while gaming onto a hard floor.‌Thankfully, a host of peripherals and accessories are already hitting stores for the Nintendo machine just days after its summertime launch.‌And it means you’ve now got options to protect your pricey device from a nasty fall or screen smash early in its gaming life.The bods at Power A have dropped a series of items worth considering for you Switch 2.Our go-to here is the new Slim Case which is a bargain at just £14.99.Article continues belowOfficially licensed by Nintendo, it has a moulded interior with soft fabric lining that perfectly cups your console, keeping it tightly nested from movement when zipped in.The case has a clean, rugged designIt looks the part too, with a grey tough fabric feel and that all-important Switch 2 logo on the front, bottom right, so you can show off to your pals.‌Inside you can even tuck in 10 game cards for your favourite titles thanks to a dedicated rack area.And that has an integrated play stand for on-the-go gamers who want to put out the magnetic Joy-Cons and have the display stand up in the case at a nice viewable angle where it remains protected while you game outdoors with pals.The play stand doubles as a padded screen protector when the system is inside the case, which is ideal.‌We’ve tried this out and it feels of good quality and well padded to protect your console.You can also get a screen protector from the firm to cover your precious 7.9-inch 1080p LCD screen form a break during a fall.There are two in a pack for £9 and, just like mobile phone screen protectors, they’ll give you an extra layer of cover while not affecting the touch screen mechanisms.‌The pack includes a microfibre cleaning cloth, placement guides, dust removal stickers and applicator.The Mario Time advantage controller for Switch 2Finally, if you want to avoid the Joy-Cons altogether there are new controllers for the Switch 2 to consider.Article continues belowThe best looking one is arguably the Advantage wired controller dubbed ‘Mario Time’ which costs £29 and boasts hall-effect magnetic sensor thumb sticks for fluid gameplay, on board audio controls for your gaming headsets and a cool Super Mario themed look.‌‌‌
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  • iPad Air vs reMarkable Paper Pro: Which tablet is best for note taking? [Updated]

    Over the past few months, I’ve had the pleasure of testing out the reMarkable Paper Pro. You can read my full review here, but in short, it gets everything right about the note taking experience.
    Despite being an e-ink tablet, it does get quite pricey. However, there are certainly some fantastic parts of the experience that make it worth comparing to an iPad Air, depending on what you’re looking for in a note taking device for school, work, or whatever else.

    Updated June 15th to reflect reMarkable’s new post-tariff pricing.
    Overview
    Since the reMarkable Paper Pro comes in at with the reMarkable Marker Plus included, it likely makes most sense to compare this against Apple’s iPad Air 11-inch. That comes in at without an Apple Pencil, and adding in the Apple Pencil Pro will run you an additional The equivalent iPad setup will run you more than the reMarkable Paper Pro.
    Given the fact that iPad Air‘s regularly go on sale, it’d be fair to say they’re roughly on the same playing field. So, for a reMarkable Paper Pro setup, versus for a comparable iPad Air setup. Which is better for you?
    Obviously, the iPad Air has one key advantage: It runs iOS, has millions of apps available, can browse the web, play games, stream TV shows/movies, and much more. To some, that might end the comparison and make the iPad a clear winner, but I disagree.
    Yes, if you want your tablet to do all of those things for you, the iPad Air is a no brainer. At the end of the day, the iPad Air is a general purpose tablet that’ll do a lot more for you.
    However, if you also have a laptop to accompany your tablet, I’d argue that the iPad Air may fall into a category of slight redundance. Most things you’d want to do on the iPad can be done on a laptop, excluding any sort of touchscreen/stylus reliant features.
    iPads are great, and if you want that – you should pick that. However, I have an alternative argument to offer…
    The reMarkable Paper Pro does one thing really well: note taking. At first thought, you might think: why would I pay so much for a device that only does one thing?
    Well, that’s because it does that one thing really well. There’s also a second side to this argument: focus.
    It’s much easier to focus on what you’re doing when the device isn’t capable of anything else. If you’re taking notes while studying, you could easily see a notification or have the temptation to check notification center. Or, if you’re reading an e-book, you could easily choose to swipe up and get into another app.
    The best thing about the reMarkable Paper Pro is that you can’t easily get lost in the world of modern technology, while still having important technological features like cloud backup of your notes. Plus, you don’t have to worry about carrying around physical paper.
    One last thing – the reMarkable Paper Pro also has rubber feet on the back, so if you place it down flat on a table caseless, you don’t have to worry about scratching it up.
    Spec comparison
    Here’s a quick rundown of all of the key specs between the two devices. reMarkable Paper Pro‘s strengths definitely lie in battery, form factor, and stylus. iPad has some rather neat features with the Apple Pencil Pro, and also clears in the display category. Both devices also offer keyboards for typed notes, though only the iPad offers a trackpad.
    Display– 10.9-inch LCD display– Glossy glass– 2360 × 1640 at 264 ppi– 11.8-inch Color e-ink display– Paper-feeling textured glass– 2160 × 1620 at 229 ppiHardware– 6.1mm thin– Anodized aluminum coating– Weighs 461g w/o Pencil Pro– 5.1mm thin– Textured aluminum edges– Weighs 360g w/ Marker attachedStylus– Magnetically charges from device– Supports tilt/pressure sensitivity– Low latency– Matte plastic build– Squeeze features, double tap gestures– Magnetically charges from device– Supports tilt/pressure sensitivity– Ultra-low latency– Premium textured aluminum build– Built in eraser on the bottomBattery life– Up to 10 hours of web browsing– Recharges to 100% in 2-3 hrs– Up to 14 days of typical usage– Fast charges to 90% in 90 minsPrice–for iPad Air–for Pencil Pro– bundled with Marker Plus
    Wrap up
    All in all, I’m not going to try to convince anyone that wanted to buy an iPad that they should buy a reMarkable Paper Pro. You can’t beat the fact that the iPad Air will do a lot more, for roughly the same cost.
    But, if you’re not buying this to be a primary computing device, I’d argue that the reMarkable Paper Pro is a worthy alternative, especially if you really just want something you can zone in on. The reMarkable Paper Pro feels a lot nicer to write on, has substantially longer battery life, and really masters a minimalist form of digital note taking.
    Buy M3 iPad Air on Amazon:
    Buy reMarkable Paper Pro on Amazon:
    What do you think of these two tablets? Let us know in the comments.

    My favorite Apple accessory recommendations:
    Follow Michael: X/Twitter, Bluesky, Instagram

    Add 9to5Mac to your Google News feed. 

    FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel
    #ipad #air #remarkable #paper #pro
    iPad Air vs reMarkable Paper Pro: Which tablet is best for note taking? [Updated]
    Over the past few months, I’ve had the pleasure of testing out the reMarkable Paper Pro. You can read my full review here, but in short, it gets everything right about the note taking experience. Despite being an e-ink tablet, it does get quite pricey. However, there are certainly some fantastic parts of the experience that make it worth comparing to an iPad Air, depending on what you’re looking for in a note taking device for school, work, or whatever else. Updated June 15th to reflect reMarkable’s new post-tariff pricing. Overview Since the reMarkable Paper Pro comes in at with the reMarkable Marker Plus included, it likely makes most sense to compare this against Apple’s iPad Air 11-inch. That comes in at without an Apple Pencil, and adding in the Apple Pencil Pro will run you an additional The equivalent iPad setup will run you more than the reMarkable Paper Pro. Given the fact that iPad Air‘s regularly go on sale, it’d be fair to say they’re roughly on the same playing field. So, for a reMarkable Paper Pro setup, versus for a comparable iPad Air setup. Which is better for you? Obviously, the iPad Air has one key advantage: It runs iOS, has millions of apps available, can browse the web, play games, stream TV shows/movies, and much more. To some, that might end the comparison and make the iPad a clear winner, but I disagree. Yes, if you want your tablet to do all of those things for you, the iPad Air is a no brainer. At the end of the day, the iPad Air is a general purpose tablet that’ll do a lot more for you. However, if you also have a laptop to accompany your tablet, I’d argue that the iPad Air may fall into a category of slight redundance. Most things you’d want to do on the iPad can be done on a laptop, excluding any sort of touchscreen/stylus reliant features. iPads are great, and if you want that – you should pick that. However, I have an alternative argument to offer… The reMarkable Paper Pro does one thing really well: note taking. At first thought, you might think: why would I pay so much for a device that only does one thing? Well, that’s because it does that one thing really well. There’s also a second side to this argument: focus. It’s much easier to focus on what you’re doing when the device isn’t capable of anything else. If you’re taking notes while studying, you could easily see a notification or have the temptation to check notification center. Or, if you’re reading an e-book, you could easily choose to swipe up and get into another app. The best thing about the reMarkable Paper Pro is that you can’t easily get lost in the world of modern technology, while still having important technological features like cloud backup of your notes. Plus, you don’t have to worry about carrying around physical paper. One last thing – the reMarkable Paper Pro also has rubber feet on the back, so if you place it down flat on a table caseless, you don’t have to worry about scratching it up. Spec comparison Here’s a quick rundown of all of the key specs between the two devices. reMarkable Paper Pro‘s strengths definitely lie in battery, form factor, and stylus. iPad has some rather neat features with the Apple Pencil Pro, and also clears in the display category. Both devices also offer keyboards for typed notes, though only the iPad offers a trackpad. Display– 10.9-inch LCD display– Glossy glass– 2360 × 1640 at 264 ppi– 11.8-inch Color e-ink display– Paper-feeling textured glass– 2160 × 1620 at 229 ppiHardware– 6.1mm thin– Anodized aluminum coating– Weighs 461g w/o Pencil Pro– 5.1mm thin– Textured aluminum edges– Weighs 360g w/ Marker attachedStylus– Magnetically charges from device– Supports tilt/pressure sensitivity– Low latency– Matte plastic build– Squeeze features, double tap gestures– Magnetically charges from device– Supports tilt/pressure sensitivity– Ultra-low latency– Premium textured aluminum build– Built in eraser on the bottomBattery life– Up to 10 hours of web browsing– Recharges to 100% in 2-3 hrs– Up to 14 days of typical usage– Fast charges to 90% in 90 minsPrice–for iPad Air–for Pencil Pro– bundled with Marker Plus Wrap up All in all, I’m not going to try to convince anyone that wanted to buy an iPad that they should buy a reMarkable Paper Pro. You can’t beat the fact that the iPad Air will do a lot more, for roughly the same cost. But, if you’re not buying this to be a primary computing device, I’d argue that the reMarkable Paper Pro is a worthy alternative, especially if you really just want something you can zone in on. The reMarkable Paper Pro feels a lot nicer to write on, has substantially longer battery life, and really masters a minimalist form of digital note taking. Buy M3 iPad Air on Amazon: Buy reMarkable Paper Pro on Amazon: What do you think of these two tablets? Let us know in the comments. My favorite Apple accessory recommendations: Follow Michael: X/Twitter, Bluesky, Instagram Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel #ipad #air #remarkable #paper #pro
    9TO5MAC.COM
    iPad Air vs reMarkable Paper Pro: Which tablet is best for note taking? [Updated]
    Over the past few months, I’ve had the pleasure of testing out the reMarkable Paper Pro. You can read my full review here, but in short, it gets everything right about the note taking experience. Despite being an e-ink tablet, it does get quite pricey. However, there are certainly some fantastic parts of the experience that make it worth comparing to an iPad Air, depending on what you’re looking for in a note taking device for school, work, or whatever else. Updated June 15th to reflect reMarkable’s new post-tariff pricing. Overview Since the reMarkable Paper Pro comes in at $679 with the reMarkable Marker Plus included, it likely makes most sense to compare this against Apple’s iPad Air 11-inch. That comes in at $599 without an Apple Pencil, and adding in the Apple Pencil Pro will run you an additional $129. The equivalent iPad setup will run you $50 more than the reMarkable Paper Pro. Given the fact that iPad Air‘s regularly go on sale, it’d be fair to say they’re roughly on the same playing field. So, $679 for a reMarkable Paper Pro setup, versus $728 for a comparable iPad Air setup. Which is better for you? Obviously, the iPad Air has one key advantage: It runs iOS, has millions of apps available, can browse the web, play games, stream TV shows/movies, and much more. To some, that might end the comparison and make the iPad a clear winner, but I disagree. Yes, if you want your tablet to do all of those things for you, the iPad Air is a no brainer. At the end of the day, the iPad Air is a general purpose tablet that’ll do a lot more for you. However, if you also have a laptop to accompany your tablet, I’d argue that the iPad Air may fall into a category of slight redundance. Most things you’d want to do on the iPad can be done on a laptop, excluding any sort of touchscreen/stylus reliant features. iPads are great, and if you want that – you should pick that. However, I have an alternative argument to offer… The reMarkable Paper Pro does one thing really well: note taking. At first thought, you might think: why would I pay so much for a device that only does one thing? Well, that’s because it does that one thing really well. There’s also a second side to this argument: focus. It’s much easier to focus on what you’re doing when the device isn’t capable of anything else. If you’re taking notes while studying, you could easily see a notification or have the temptation to check notification center. Or, if you’re reading an e-book, you could easily choose to swipe up and get into another app. The best thing about the reMarkable Paper Pro is that you can’t easily get lost in the world of modern technology, while still having important technological features like cloud backup of your notes. Plus, you don’t have to worry about carrying around physical paper. One last thing – the reMarkable Paper Pro also has rubber feet on the back, so if you place it down flat on a table caseless, you don’t have to worry about scratching it up. Spec comparison Here’s a quick rundown of all of the key specs between the two devices. reMarkable Paper Pro‘s strengths definitely lie in battery, form factor, and stylus. iPad has some rather neat features with the Apple Pencil Pro, and also clears in the display category. Both devices also offer keyboards for typed notes, though only the iPad offers a trackpad. Display– 10.9-inch LCD display– Glossy glass– 2360 × 1640 at 264 ppi– 11.8-inch Color e-ink display– Paper-feeling textured glass– 2160 × 1620 at 229 ppiHardware– 6.1mm thin– Anodized aluminum coating– Weighs 461g w/o Pencil Pro– 5.1mm thin– Textured aluminum edges– Weighs 360g w/ Marker attachedStylus– Magnetically charges from device– Supports tilt/pressure sensitivity– Low latency (number unspecified)– Matte plastic build– Squeeze features, double tap gestures– Magnetically charges from device– Supports tilt/pressure sensitivity– Ultra-low latency (12ms)– Premium textured aluminum build– Built in eraser on the bottomBattery life– Up to 10 hours of web browsing– Recharges to 100% in 2-3 hrs– Up to 14 days of typical usage– Fast charges to 90% in 90 minsPrice– $599 ($529 on sale) for iPad Air– $129 ($99 on sale) for Pencil Pro– $679 bundled with Marker Plus Wrap up All in all, I’m not going to try to convince anyone that wanted to buy an iPad that they should buy a reMarkable Paper Pro. You can’t beat the fact that the iPad Air will do a lot more, for roughly the same cost. But, if you’re not buying this to be a primary computing device, I’d argue that the reMarkable Paper Pro is a worthy alternative, especially if you really just want something you can zone in on. The reMarkable Paper Pro feels a lot nicer to write on, has substantially longer battery life, and really masters a minimalist form of digital note taking. Buy M3 iPad Air on Amazon: Buy reMarkable Paper Pro on Amazon: What do you think of these two tablets? Let us know in the comments. My favorite Apple accessory recommendations: Follow Michael: X/Twitter, Bluesky, Instagram Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel
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  • Mysterious link between Earth’s magnetism and oxygen baffles scientists

    Nature, Published online: 13 June 2025; doi:10.1038/d41586-025-01862-xEarth’s magnetic field seems to correlate with conditions that helped complex life to thrive — a discovery that could aid the search for life on distant exoplanets.
    #mysterious #link #between #earths #magnetism
    Mysterious link between Earth’s magnetism and oxygen baffles scientists
    Nature, Published online: 13 June 2025; doi:10.1038/d41586-025-01862-xEarth’s magnetic field seems to correlate with conditions that helped complex life to thrive — a discovery that could aid the search for life on distant exoplanets. #mysterious #link #between #earths #magnetism
    WWW.NATURE.COM
    Mysterious link between Earth’s magnetism and oxygen baffles scientists
    Nature, Published online: 13 June 2025; doi:10.1038/d41586-025-01862-xEarth’s magnetic field seems to correlate with conditions that helped complex life to thrive — a discovery that could aid the search for life on distant exoplanets.
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  • Ezsharp 2.0 Titanium Folding Knife with Swappable Blades Changes the EDC Game

    Your everyday carry setup says a lot about who you are. Whether you’re a craftsman who demands precision tools or an outdoor enthusiast who needs reliable gear, the right knife can make all the difference. The Ezsharp 2.0 Titanium Folding Utility Knife isn’t just another blade for your pocket. It’s a game-changer that combines premium materials with innovative design.
    Most folding knives force you to choose between strength and weight, but the Ezsharp 2.0 throws that compromise out the window. Built from premium titanium alloy, this folding knife delivers incredible strength while staying remarkably lightweight in your pocket. You get the durability you need without the bulk that weighs you down during long days on the job or weekend adventures.
    Designer: Alan Zheng
    Click Here to Buy Now:. Hurry, only 16/170 left!

    Titanium brings some serious advantages to the table that make it worth the investment. Unlike traditional stainless steel options, titanium offers natural resistance to rust and corrosion, so your knife stays sharp and reliable whether you’re working in humid conditions, caught in unexpected rain, or dealing with extreme temperatures. This means your tool performs consistently regardless of what Mother Nature throws your way.

    The real genius of the Ezsharp 2.0 lies in its dual-blade storage system. Instead of carrying multiple cutting tools or constantly searching for the right blade, you can swap between different scalpel blade types depending on your task. Need precision for detailed work? Switch to a fine-point blade. Tackling heavy-duty cutting? Pop in a robust utility blade and get to work.

    This innovative storage design uses powerful magnets to secure blades in both the active position and the backup compartment. The magnetic retention system ensures your blades stay exactly where they should be, eliminating the wobble and play that plague cheaper alternatives. You can trust that your cutting edge will be stable and precise when you need it most.

    The engineering extends beyond just storage, though. The Ezsharp 2.0 accepts six different scalpel blade formats, including #18, #20, #21, #22, #23, and #24. This compatibility gives you access to specialized blade geometries for everything from cardboard breakdown to precision crafting. Having options means you can tackle any cutting challenge without compromise.

    Craftsmen will appreciate the attention to detail in the construction. Every component except the replaceable blades comes from precision CNC machining, ensuring tight tolerances and smooth operation. The stainless steel blade holder receives proper heat treatment for longevity, while the frame lock mechanism provides a secure lockup that you can depend on during demanding tasks.

    The flipper opening system makes one-handed deployment effortless, perfect when your other hand is busy holding materials or managing your workspace. This practical design consideration shows that the makers understand how working professionals actually use their tools. You shouldn’t have to fumble with complicated mechanisms when time matters and precision counts.

    For EDC enthusiasts, the compact profile means the Ezsharp 2.0 disappears in your pocket without printing or creating uncomfortable bulk. The titanium construction keeps the weight down to levels that won’t throw off your carry balance, yet provides the strength to handle serious cutting tasks when called upon.

    The combination of premium materials, thoughtful engineering, and practical functionality makes the Ezsharp 2.0 stand out in a crowded market. This folding knife represents what happens when designers listen to users and create solutions for real-world problems. Whether you’re a professional who depends on reliable tools or an enthusiast who appreciates quality gear, the Ezsharp 2.0 delivers performance that justifies its place in your everyday carry rotation.
    Click Here to Buy Now:. Hurry, only 16/170 left!The post Ezsharp 2.0 Titanium Folding Knife with Swappable Blades Changes the EDC Game first appeared on Yanko Design.
    #ezsharp #titanium #folding #knife #with
    Ezsharp 2.0 Titanium Folding Knife with Swappable Blades Changes the EDC Game
    Your everyday carry setup says a lot about who you are. Whether you’re a craftsman who demands precision tools or an outdoor enthusiast who needs reliable gear, the right knife can make all the difference. The Ezsharp 2.0 Titanium Folding Utility Knife isn’t just another blade for your pocket. It’s a game-changer that combines premium materials with innovative design. Most folding knives force you to choose between strength and weight, but the Ezsharp 2.0 throws that compromise out the window. Built from premium titanium alloy, this folding knife delivers incredible strength while staying remarkably lightweight in your pocket. You get the durability you need without the bulk that weighs you down during long days on the job or weekend adventures. Designer: Alan Zheng Click Here to Buy Now:. Hurry, only 16/170 left! Titanium brings some serious advantages to the table that make it worth the investment. Unlike traditional stainless steel options, titanium offers natural resistance to rust and corrosion, so your knife stays sharp and reliable whether you’re working in humid conditions, caught in unexpected rain, or dealing with extreme temperatures. This means your tool performs consistently regardless of what Mother Nature throws your way. The real genius of the Ezsharp 2.0 lies in its dual-blade storage system. Instead of carrying multiple cutting tools or constantly searching for the right blade, you can swap between different scalpel blade types depending on your task. Need precision for detailed work? Switch to a fine-point blade. Tackling heavy-duty cutting? Pop in a robust utility blade and get to work. This innovative storage design uses powerful magnets to secure blades in both the active position and the backup compartment. The magnetic retention system ensures your blades stay exactly where they should be, eliminating the wobble and play that plague cheaper alternatives. You can trust that your cutting edge will be stable and precise when you need it most. The engineering extends beyond just storage, though. The Ezsharp 2.0 accepts six different scalpel blade formats, including #18, #20, #21, #22, #23, and #24. This compatibility gives you access to specialized blade geometries for everything from cardboard breakdown to precision crafting. Having options means you can tackle any cutting challenge without compromise. Craftsmen will appreciate the attention to detail in the construction. Every component except the replaceable blades comes from precision CNC machining, ensuring tight tolerances and smooth operation. The stainless steel blade holder receives proper heat treatment for longevity, while the frame lock mechanism provides a secure lockup that you can depend on during demanding tasks. The flipper opening system makes one-handed deployment effortless, perfect when your other hand is busy holding materials or managing your workspace. This practical design consideration shows that the makers understand how working professionals actually use their tools. You shouldn’t have to fumble with complicated mechanisms when time matters and precision counts. For EDC enthusiasts, the compact profile means the Ezsharp 2.0 disappears in your pocket without printing or creating uncomfortable bulk. The titanium construction keeps the weight down to levels that won’t throw off your carry balance, yet provides the strength to handle serious cutting tasks when called upon. The combination of premium materials, thoughtful engineering, and practical functionality makes the Ezsharp 2.0 stand out in a crowded market. This folding knife represents what happens when designers listen to users and create solutions for real-world problems. Whether you’re a professional who depends on reliable tools or an enthusiast who appreciates quality gear, the Ezsharp 2.0 delivers performance that justifies its place in your everyday carry rotation. Click Here to Buy Now:. Hurry, only 16/170 left!The post Ezsharp 2.0 Titanium Folding Knife with Swappable Blades Changes the EDC Game first appeared on Yanko Design. #ezsharp #titanium #folding #knife #with
    WWW.YANKODESIGN.COM
    Ezsharp 2.0 Titanium Folding Knife with Swappable Blades Changes the EDC Game
    Your everyday carry setup says a lot about who you are. Whether you’re a craftsman who demands precision tools or an outdoor enthusiast who needs reliable gear, the right knife can make all the difference. The Ezsharp 2.0 Titanium Folding Utility Knife isn’t just another blade for your pocket. It’s a game-changer that combines premium materials with innovative design. Most folding knives force you to choose between strength and weight, but the Ezsharp 2.0 throws that compromise out the window. Built from premium titanium alloy, this folding knife delivers incredible strength while staying remarkably lightweight in your pocket. You get the durability you need without the bulk that weighs you down during long days on the job or weekend adventures. Designer: Alan Zheng Click Here to Buy Now: $79 $138.6 (43% off). Hurry, only 16/170 left! Titanium brings some serious advantages to the table that make it worth the investment. Unlike traditional stainless steel options, titanium offers natural resistance to rust and corrosion, so your knife stays sharp and reliable whether you’re working in humid conditions, caught in unexpected rain, or dealing with extreme temperatures. This means your tool performs consistently regardless of what Mother Nature throws your way. The real genius of the Ezsharp 2.0 lies in its dual-blade storage system. Instead of carrying multiple cutting tools or constantly searching for the right blade, you can swap between different scalpel blade types depending on your task. Need precision for detailed work? Switch to a fine-point blade. Tackling heavy-duty cutting? Pop in a robust utility blade and get to work. This innovative storage design uses powerful magnets to secure blades in both the active position and the backup compartment. The magnetic retention system ensures your blades stay exactly where they should be, eliminating the wobble and play that plague cheaper alternatives. You can trust that your cutting edge will be stable and precise when you need it most. The engineering extends beyond just storage, though. The Ezsharp 2.0 accepts six different scalpel blade formats, including #18, #20, #21, #22, #23, and #24. This compatibility gives you access to specialized blade geometries for everything from cardboard breakdown to precision crafting. Having options means you can tackle any cutting challenge without compromise. Craftsmen will appreciate the attention to detail in the construction. Every component except the replaceable blades comes from precision CNC machining, ensuring tight tolerances and smooth operation. The stainless steel blade holder receives proper heat treatment for longevity, while the frame lock mechanism provides a secure lockup that you can depend on during demanding tasks. The flipper opening system makes one-handed deployment effortless, perfect when your other hand is busy holding materials or managing your workspace. This practical design consideration shows that the makers understand how working professionals actually use their tools. You shouldn’t have to fumble with complicated mechanisms when time matters and precision counts. For EDC enthusiasts, the compact profile means the Ezsharp 2.0 disappears in your pocket without printing or creating uncomfortable bulk. The titanium construction keeps the weight down to levels that won’t throw off your carry balance, yet provides the strength to handle serious cutting tasks when called upon. The combination of premium materials, thoughtful engineering, and practical functionality makes the Ezsharp 2.0 stand out in a crowded market. This folding knife represents what happens when designers listen to users and create solutions for real-world problems. Whether you’re a professional who depends on reliable tools or an enthusiast who appreciates quality gear, the Ezsharp 2.0 delivers performance that justifies its place in your everyday carry rotation. Click Here to Buy Now: $79 $138.6 (43% off). Hurry, only 16/170 left!The post Ezsharp 2.0 Titanium Folding Knife with Swappable Blades Changes the EDC Game first appeared on Yanko Design.
    0 Yorumlar 0 hisse senetleri 0 önizleme
  • AN EXPLOSIVE MIX OF SFX AND VFX IGNITES FINAL DESTINATION BLOODLINES

    By CHRIS McGOWAN

    Images courtesy of Warner Bros. Pictures.

    Final Destination Bloodlines, the sixth installment in the graphic horror series, kicks off with the film’s biggest challenge – deploying an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant. While there in 1968, young Iris Campbellhas a premonition about the Skyview burning, cracking, crumbling and collapsing. Then, when she sees these events actually starting to happen around her, she intervenes and causes an evacuation of the tower, thus thwarting death’s design and saving many lives. Years later, her granddaughter, Stefani Reyes, inherits the vision of the destruction that could have occurred and realizes death is still coming for the survivors.

    “I knew we couldn’t put the wholeon fire, but Tonytried and put as much fire as he could safely and then we just built off thatand added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction that can’t be simulated, so I think it was a success in terms of blending that practical with the visual.”
    —Nordin Rahhali, VFX Supervisor

    The film opens with an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant – and its collapse. Drone footage was digitized to create a 3D asset for the LED wall so the time of day could be changed as needed.

    “The set that the directors wanted was very large,” says Nordin Rahhali, VFX Supervisor. “We had limited space options in stages given the scale and the footprint of the actual restaurant that they wanted. It was the first set piece, the first big thing we shot, so we had to get it all ready and going right off the bat. We built a bigger volume for our needs, including an LED wall that we built the assets for.”

    “We were outside Vancouver at Bridge Studios in Burnaby. The custom-built LED volume was a little over 200 feet in length” states Christian Sebaldt, ASC, the movie’s DP. The volume was 98 feet in diameter and 24 feet tall. Rahhali explains, “Pixomondo was the vendor that we contracted to come in and build the volume. They also built the asset that went on the LED wall, so they were part of our filming team and production shoot. Subsequently, they were also the main vendor doing post, which was by design. By having them design and take care of the asset during production, we were able to leverage their assets, tools and builds for some of the post VFX.” Rahhali adds, “It was really important to make sure we had days with the volume team and with Christian and his camera team ahead of the shoot so we could dial it in.”

    Built at Bridge Studios in Burnaby outside Vancouver, the custom-built LED volume for events at the Skyview restaurant was over 200 feet long, 98 feet wide and 24 feet tall. Extensive previs with Digital Domain was done to advance key shots.Zach Lipovsky and Adam Stein directed Final Destination Bloodlines for New Line film, distributed by Warner Bros., in which chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated death at some point. Pixomondo was the lead VFX vendor, followed by FOLKS VFX. Picture Shop also contributed. There were around 800 VFX shots. Tony Lazarowich was the Special Effects Supervisor.

    “The Skyview restaurant involved building a massive setwas fire retardant, which meant the construction took longer than normal because they had to build it with certain materials and coat it with certain things because, obviously, it serves for the set piece. As it’s falling into chaos, a lot of that fire was practical. I really jived with what Christian and directors wanted and how Tony likes to work – to augment as much real practical stuff as possible,” Rahhali remarks. “I knew we couldn’t put the whole thing on fire, but Tony tried and put as much fire as he could safely, and then we just built off thatand added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction can’t be simulated, so I think it was a success in terms of blending that practical with the visual.”

    The Skyview restaurant required building a massive set that was fire retardant. Construction on the set took longer because it had to be built and coated with special materials. As the Skyview restaurant falls into chaos, much of the fire was practical.“We got all the Vancouver skylineso we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.”
    —Christian Sebaldt, ASC, Director of Photography

    For drone shots, the team utilized a custom heavy-lift drone with three RED Komodo Digital Cinema cameras “giving us almost 180 degrees with overlap that we would then stitch in post and have a ridiculous amount of resolution off these three cameras,” Sebaldt states. “The other drone we used was a DJI Inspire 3, which was also very good. And we flew these drones up at the height. We flew them at different times of day. We flew full 360s, and we also used them for photogrammetry. We got all the Vancouver skyline so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” Rahhali adds, “All of this allowed us to figure out what we were going to shoot. We had the stage build, and we had the drone footage that we then digitized and created a 3D asset to go on the wallwe could change the times of day”

    Pixomondo built the volume and the asset that went on the LED wall for the Skyview sequence. They were also the main vendor during post. FOLKS VFX and Picture Shop contributed.“We did extensive previs with Digital Domain,” Rahhali explains. “That was important because we knew the key shots that the directors wanted. With a combination of those key shots, we then kind of reverse-engineeredwhile we did techvis off the previs and worked with Christian and the art department so we would have proper flexibility with the set to be able to pull off some of these shots.some of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paulas he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.”

    Some shots required the Skyview’s ceiling to be lifted and partially removed to get a crane to shoot Paul Campbellas he’s about to fall.

    The character Iris lived in a fortified house, isolating herself methodically to avoid the Grim Reaper. Rahhali comments, “That was a beautiful locationGVRD, very cold. It was a long, hard shoot, because it was all nights. It was just this beautiful pocket out in the middle of the mountains. We in visual effects didn’t do a ton other than a couple of clean-ups of the big establishing shots when you see them pull up to the compound. We had to clean up small roads we wanted to make look like one road and make the road look like dirt.” There were flames involved. Sebaldt says, “The explosionwas unbelievably big. We had eight cameras on it at night and shot it at high speed, and we’re all going ‘Whoa.’” Rahhali notes, “There was some clean-up, but the explosion was 100% practical. Our Special Effects Supervisor, Tony, went to town on that. He blew up the whole house, and it looked spectacular.”

    The tattoo shop piercing scene is one of the most talked-about sequences in the movie, where a dangling chain from a ceiling fan attaches itself to the septum nose piercing of Erik Campbelland drags him toward a raging fire. Rahhali observes, “That was very Final Destination and a great Rube Goldberg build-up event. Richard was great. He was tied up on a stunt line for most of it, balancing on top of furniture. All of that was him doing it for real with a stunt line.” Some effects solutions can be surprisingly extremely simple. Rahhali continues, “Our producercame up with a great gagseptum ring.” Richard’s nose was connected with just a nose plug that went inside his nostrils. “All that tugging and everything that you’re seeing was real. For weeks and weeks, we were all trying to figure out how to do it without it being a big visual effects thing. ‘How are we gonna pull his nose for real?’ Craig said, ‘I have these things I use to help me open up my nose and you can’t really see them.’ They built it off of that, and it looked great.”

    Filmmakers spent weeks figuring out how to execute the harrowing tattoo shop scene. A dangling chain from a ceiling fan attaches itself to the septum nose ring of Erik Campbell– with the actor’s nose being tugged by the chain connected to a nose plug that went inside his nostrils.

    “ome of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paulas he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.”
    —Nordin Rahhali, VFX Supervisor

    Most of the fire in the tattoo parlor was practical. “There are some fire bars and stuff that you’re seeing in there from SFX and the big pool of fire on the wide shots.” Sebaldt adds, “That was a lot of fun to shoot because it’s so insane when he’s dancing and balancing on all this stuff – we were laughing and laughing. We were convinced that this was going to be the best scene in the movie up to that moment.” Rahhali says, “They used the scene wholesale for the trailer. It went viral – people were taking out their septum rings.” Erik survives the parlor blaze only to meet his fate in a hospital when he is pulled by a wheelchair into an out-of-control MRI machine at its highest magnetic level. Rahhali comments, “That is a good combination of a bunch of different departments. Our Stunt Coordinator, Simon Burnett, came up with this hard pull-wire linewhen Erik flies and hits the MRI. That’s a real stunt with a double, and he hit hard. All the other shots are all CG wheelchairs because the directors wanted to art-direct how the crumpling metal was snapping and bending to show pressure on him as his body starts going into the MRI.”

    To augment the believability that comes with reality, the directors aimed to capture as much practically as possible, then VFX Supervisor Nordin Rahhali and his team built on that result.A train derailment concludes the film after Stefani and her brother, Charlie, realize they are still on death’s list. A train goes off the tracks, and logs from one of the cars fly though the air and kills them. “That one was special because it’s a hard sequence and was also shot quite late, so we didn’t have a lot of time. We went back to Vancouver and shot the actual street, and we shot our actors performing. They fell onto stunt pads, and the moment they get touched by the logs, it turns into CG as it was the only way to pull that off and the train of course. We had to add all that. The destruction of the houses and everything was done in visual effects.”

    Erik survives the tattoo parlor blaze only to meet his fate in a hospital when he is crushed by a wheelchair while being pulled into an out-of-control MRI machine.

    Erikappears about to be run over by a delivery truck at the corner of 21A Ave. and 132A St., but he’s not – at least not then. The truck is actually on the opposite side of the road, and the person being run over is Howard.

    A rolling penny plays a major part in the catastrophic chain reactions and seems to be a character itself. “The magic penny was a mix from two vendors, Pixomondo and FOLKS; both had penny shots,” Rahhali says. “All the bouncing pennies you see going through the vents and hitting the fan blade are all FOLKS. The bouncing penny at the end as a lady takes it out of her purse, that goes down the ramp and into the rail – that’s FOLKS. The big explosion shots in the Skyview with the penny slowing down after the kid throws itare all Pixomondo shots. It was a mix. We took a little time to find that balance between readability and believability.”

    Approximately 800 VFX shots were required for Final Destination Bloodlines.Chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated Death at some point in the Final Destination films.

    From left: Kaitlyn Santa Juana as Stefani Reyes, director Adam Stein, director Zach Lipovsky and Gabrielle Rose as Iris.Rahhali adds, “The film is a great collaboration of departments. Good visual effects are always a good combination of special effects, makeup effects and cinematography; it’s all the planning of all the pieces coming together. For a film of this size, I’m really proud of the work. I think we punched above our weight class, and it looks quite good.”
    #explosive #mix #sfx #vfx #ignites
    AN EXPLOSIVE MIX OF SFX AND VFX IGNITES FINAL DESTINATION BLOODLINES
    By CHRIS McGOWAN Images courtesy of Warner Bros. Pictures. Final Destination Bloodlines, the sixth installment in the graphic horror series, kicks off with the film’s biggest challenge – deploying an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant. While there in 1968, young Iris Campbellhas a premonition about the Skyview burning, cracking, crumbling and collapsing. Then, when she sees these events actually starting to happen around her, she intervenes and causes an evacuation of the tower, thus thwarting death’s design and saving many lives. Years later, her granddaughter, Stefani Reyes, inherits the vision of the destruction that could have occurred and realizes death is still coming for the survivors. “I knew we couldn’t put the wholeon fire, but Tonytried and put as much fire as he could safely and then we just built off thatand added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction that can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” —Nordin Rahhali, VFX Supervisor The film opens with an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant – and its collapse. Drone footage was digitized to create a 3D asset for the LED wall so the time of day could be changed as needed. “The set that the directors wanted was very large,” says Nordin Rahhali, VFX Supervisor. “We had limited space options in stages given the scale and the footprint of the actual restaurant that they wanted. It was the first set piece, the first big thing we shot, so we had to get it all ready and going right off the bat. We built a bigger volume for our needs, including an LED wall that we built the assets for.” “We were outside Vancouver at Bridge Studios in Burnaby. The custom-built LED volume was a little over 200 feet in length” states Christian Sebaldt, ASC, the movie’s DP. The volume was 98 feet in diameter and 24 feet tall. Rahhali explains, “Pixomondo was the vendor that we contracted to come in and build the volume. They also built the asset that went on the LED wall, so they were part of our filming team and production shoot. Subsequently, they were also the main vendor doing post, which was by design. By having them design and take care of the asset during production, we were able to leverage their assets, tools and builds for some of the post VFX.” Rahhali adds, “It was really important to make sure we had days with the volume team and with Christian and his camera team ahead of the shoot so we could dial it in.” Built at Bridge Studios in Burnaby outside Vancouver, the custom-built LED volume for events at the Skyview restaurant was over 200 feet long, 98 feet wide and 24 feet tall. Extensive previs with Digital Domain was done to advance key shots.Zach Lipovsky and Adam Stein directed Final Destination Bloodlines for New Line film, distributed by Warner Bros., in which chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated death at some point. Pixomondo was the lead VFX vendor, followed by FOLKS VFX. Picture Shop also contributed. There were around 800 VFX shots. Tony Lazarowich was the Special Effects Supervisor. “The Skyview restaurant involved building a massive setwas fire retardant, which meant the construction took longer than normal because they had to build it with certain materials and coat it with certain things because, obviously, it serves for the set piece. As it’s falling into chaos, a lot of that fire was practical. I really jived with what Christian and directors wanted and how Tony likes to work – to augment as much real practical stuff as possible,” Rahhali remarks. “I knew we couldn’t put the whole thing on fire, but Tony tried and put as much fire as he could safely, and then we just built off thatand added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” The Skyview restaurant required building a massive set that was fire retardant. Construction on the set took longer because it had to be built and coated with special materials. As the Skyview restaurant falls into chaos, much of the fire was practical.“We got all the Vancouver skylineso we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” —Christian Sebaldt, ASC, Director of Photography For drone shots, the team utilized a custom heavy-lift drone with three RED Komodo Digital Cinema cameras “giving us almost 180 degrees with overlap that we would then stitch in post and have a ridiculous amount of resolution off these three cameras,” Sebaldt states. “The other drone we used was a DJI Inspire 3, which was also very good. And we flew these drones up at the height. We flew them at different times of day. We flew full 360s, and we also used them for photogrammetry. We got all the Vancouver skyline so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” Rahhali adds, “All of this allowed us to figure out what we were going to shoot. We had the stage build, and we had the drone footage that we then digitized and created a 3D asset to go on the wallwe could change the times of day” Pixomondo built the volume and the asset that went on the LED wall for the Skyview sequence. They were also the main vendor during post. FOLKS VFX and Picture Shop contributed.“We did extensive previs with Digital Domain,” Rahhali explains. “That was important because we knew the key shots that the directors wanted. With a combination of those key shots, we then kind of reverse-engineeredwhile we did techvis off the previs and worked with Christian and the art department so we would have proper flexibility with the set to be able to pull off some of these shots.some of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paulas he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” Some shots required the Skyview’s ceiling to be lifted and partially removed to get a crane to shoot Paul Campbellas he’s about to fall. The character Iris lived in a fortified house, isolating herself methodically to avoid the Grim Reaper. Rahhali comments, “That was a beautiful locationGVRD, very cold. It was a long, hard shoot, because it was all nights. It was just this beautiful pocket out in the middle of the mountains. We in visual effects didn’t do a ton other than a couple of clean-ups of the big establishing shots when you see them pull up to the compound. We had to clean up small roads we wanted to make look like one road and make the road look like dirt.” There were flames involved. Sebaldt says, “The explosionwas unbelievably big. We had eight cameras on it at night and shot it at high speed, and we’re all going ‘Whoa.’” Rahhali notes, “There was some clean-up, but the explosion was 100% practical. Our Special Effects Supervisor, Tony, went to town on that. He blew up the whole house, and it looked spectacular.” The tattoo shop piercing scene is one of the most talked-about sequences in the movie, where a dangling chain from a ceiling fan attaches itself to the septum nose piercing of Erik Campbelland drags him toward a raging fire. Rahhali observes, “That was very Final Destination and a great Rube Goldberg build-up event. Richard was great. He was tied up on a stunt line for most of it, balancing on top of furniture. All of that was him doing it for real with a stunt line.” Some effects solutions can be surprisingly extremely simple. Rahhali continues, “Our producercame up with a great gagseptum ring.” Richard’s nose was connected with just a nose plug that went inside his nostrils. “All that tugging and everything that you’re seeing was real. For weeks and weeks, we were all trying to figure out how to do it without it being a big visual effects thing. ‘How are we gonna pull his nose for real?’ Craig said, ‘I have these things I use to help me open up my nose and you can’t really see them.’ They built it off of that, and it looked great.” Filmmakers spent weeks figuring out how to execute the harrowing tattoo shop scene. A dangling chain from a ceiling fan attaches itself to the septum nose ring of Erik Campbell– with the actor’s nose being tugged by the chain connected to a nose plug that went inside his nostrils. “ome of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paulas he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” —Nordin Rahhali, VFX Supervisor Most of the fire in the tattoo parlor was practical. “There are some fire bars and stuff that you’re seeing in there from SFX and the big pool of fire on the wide shots.” Sebaldt adds, “That was a lot of fun to shoot because it’s so insane when he’s dancing and balancing on all this stuff – we were laughing and laughing. We were convinced that this was going to be the best scene in the movie up to that moment.” Rahhali says, “They used the scene wholesale for the trailer. It went viral – people were taking out their septum rings.” Erik survives the parlor blaze only to meet his fate in a hospital when he is pulled by a wheelchair into an out-of-control MRI machine at its highest magnetic level. Rahhali comments, “That is a good combination of a bunch of different departments. Our Stunt Coordinator, Simon Burnett, came up with this hard pull-wire linewhen Erik flies and hits the MRI. That’s a real stunt with a double, and he hit hard. All the other shots are all CG wheelchairs because the directors wanted to art-direct how the crumpling metal was snapping and bending to show pressure on him as his body starts going into the MRI.” To augment the believability that comes with reality, the directors aimed to capture as much practically as possible, then VFX Supervisor Nordin Rahhali and his team built on that result.A train derailment concludes the film after Stefani and her brother, Charlie, realize they are still on death’s list. A train goes off the tracks, and logs from one of the cars fly though the air and kills them. “That one was special because it’s a hard sequence and was also shot quite late, so we didn’t have a lot of time. We went back to Vancouver and shot the actual street, and we shot our actors performing. They fell onto stunt pads, and the moment they get touched by the logs, it turns into CG as it was the only way to pull that off and the train of course. We had to add all that. The destruction of the houses and everything was done in visual effects.” Erik survives the tattoo parlor blaze only to meet his fate in a hospital when he is crushed by a wheelchair while being pulled into an out-of-control MRI machine. Erikappears about to be run over by a delivery truck at the corner of 21A Ave. and 132A St., but he’s not – at least not then. The truck is actually on the opposite side of the road, and the person being run over is Howard. A rolling penny plays a major part in the catastrophic chain reactions and seems to be a character itself. “The magic penny was a mix from two vendors, Pixomondo and FOLKS; both had penny shots,” Rahhali says. “All the bouncing pennies you see going through the vents and hitting the fan blade are all FOLKS. The bouncing penny at the end as a lady takes it out of her purse, that goes down the ramp and into the rail – that’s FOLKS. The big explosion shots in the Skyview with the penny slowing down after the kid throws itare all Pixomondo shots. It was a mix. We took a little time to find that balance between readability and believability.” Approximately 800 VFX shots were required for Final Destination Bloodlines.Chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated Death at some point in the Final Destination films. From left: Kaitlyn Santa Juana as Stefani Reyes, director Adam Stein, director Zach Lipovsky and Gabrielle Rose as Iris.Rahhali adds, “The film is a great collaboration of departments. Good visual effects are always a good combination of special effects, makeup effects and cinematography; it’s all the planning of all the pieces coming together. For a film of this size, I’m really proud of the work. I think we punched above our weight class, and it looks quite good.” #explosive #mix #sfx #vfx #ignites
    WWW.VFXVOICE.COM
    AN EXPLOSIVE MIX OF SFX AND VFX IGNITES FINAL DESTINATION BLOODLINES
    By CHRIS McGOWAN Images courtesy of Warner Bros. Pictures. Final Destination Bloodlines, the sixth installment in the graphic horror series, kicks off with the film’s biggest challenge – deploying an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant. While there in 1968, young Iris Campbell (Brec Bassinger) has a premonition about the Skyview burning, cracking, crumbling and collapsing. Then, when she sees these events actually starting to happen around her, she intervenes and causes an evacuation of the tower, thus thwarting death’s design and saving many lives. Years later, her granddaughter, Stefani Reyes (Kaitlyn Santa Juana), inherits the vision of the destruction that could have occurred and realizes death is still coming for the survivors. “I knew we couldn’t put the whole [Skyview restaurant] on fire, but Tony [Lazarowich, Special Effects Supervisor] tried and put as much fire as he could safely and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction that can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” —Nordin Rahhali, VFX Supervisor The film opens with an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant – and its collapse. Drone footage was digitized to create a 3D asset for the LED wall so the time of day could be changed as needed. “The set that the directors wanted was very large,” says Nordin Rahhali, VFX Supervisor. “We had limited space options in stages given the scale and the footprint of the actual restaurant that they wanted. It was the first set piece, the first big thing we shot, so we had to get it all ready and going right off the bat. We built a bigger volume for our needs, including an LED wall that we built the assets for.” “We were outside Vancouver at Bridge Studios in Burnaby. The custom-built LED volume was a little over 200 feet in length” states Christian Sebaldt, ASC, the movie’s DP. The volume was 98 feet in diameter and 24 feet tall. Rahhali explains, “Pixomondo was the vendor that we contracted to come in and build the volume. They also built the asset that went on the LED wall, so they were part of our filming team and production shoot. Subsequently, they were also the main vendor doing post, which was by design. By having them design and take care of the asset during production, we were able to leverage their assets, tools and builds for some of the post VFX.” Rahhali adds, “It was really important to make sure we had days with the volume team and with Christian and his camera team ahead of the shoot so we could dial it in.” Built at Bridge Studios in Burnaby outside Vancouver, the custom-built LED volume for events at the Skyview restaurant was over 200 feet long, 98 feet wide and 24 feet tall. Extensive previs with Digital Domain was done to advance key shots. (Photo: Eric Milner) Zach Lipovsky and Adam Stein directed Final Destination Bloodlines for New Line film, distributed by Warner Bros., in which chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated death at some point. Pixomondo was the lead VFX vendor, followed by FOLKS VFX. Picture Shop also contributed. There were around 800 VFX shots. Tony Lazarowich was the Special Effects Supervisor. “The Skyview restaurant involved building a massive set [that] was fire retardant, which meant the construction took longer than normal because they had to build it with certain materials and coat it with certain things because, obviously, it serves for the set piece. As it’s falling into chaos, a lot of that fire was practical. I really jived with what Christian and directors wanted and how Tony likes to work – to augment as much real practical stuff as possible,” Rahhali remarks. “I knew we couldn’t put the whole thing on fire, but Tony tried and put as much fire as he could safely, and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” The Skyview restaurant required building a massive set that was fire retardant. Construction on the set took longer because it had to be built and coated with special materials. As the Skyview restaurant falls into chaos, much of the fire was practical. (Photo: Eric Milner) “We got all the Vancouver skyline [with drones] so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” —Christian Sebaldt, ASC, Director of Photography For drone shots, the team utilized a custom heavy-lift drone with three RED Komodo Digital Cinema cameras “giving us almost 180 degrees with overlap that we would then stitch in post and have a ridiculous amount of resolution off these three cameras,” Sebaldt states. “The other drone we used was a DJI Inspire 3, which was also very good. And we flew these drones up at the height [we needed]. We flew them at different times of day. We flew full 360s, and we also used them for photogrammetry. We got all the Vancouver skyline so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” Rahhali adds, “All of this allowed us to figure out what we were going to shoot. We had the stage build, and we had the drone footage that we then digitized and created a 3D asset to go on the wall [so] we could change the times of day” Pixomondo built the volume and the asset that went on the LED wall for the Skyview sequence. They were also the main vendor during post. FOLKS VFX and Picture Shop contributed. (Photo: Eric Milner) “We did extensive previs with Digital Domain,” Rahhali explains. “That was important because we knew the key shots that the directors wanted. With a combination of those key shots, we then kind of reverse-engineered [them] while we did techvis off the previs and worked with Christian and the art department so we would have proper flexibility with the set to be able to pull off some of these shots. [For example,] some of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Max Lloyd-Jones] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” Some shots required the Skyview’s ceiling to be lifted and partially removed to get a crane to shoot Paul Campbell (Max Lloyd-Jones) as he’s about to fall. The character Iris lived in a fortified house, isolating herself methodically to avoid the Grim Reaper. Rahhali comments, “That was a beautiful location [in] GVRD [Greater Vancouver], very cold. It was a long, hard shoot, because it was all nights. It was just this beautiful pocket out in the middle of the mountains. We in visual effects didn’t do a ton other than a couple of clean-ups of the big establishing shots when you see them pull up to the compound. We had to clean up small roads we wanted to make look like one road and make the road look like dirt.” There were flames involved. Sebaldt says, “The explosion [of Iris’s home] was unbelievably big. We had eight cameras on it at night and shot it at high speed, and we’re all going ‘Whoa.’” Rahhali notes, “There was some clean-up, but the explosion was 100% practical. Our Special Effects Supervisor, Tony, went to town on that. He blew up the whole house, and it looked spectacular.” The tattoo shop piercing scene is one of the most talked-about sequences in the movie, where a dangling chain from a ceiling fan attaches itself to the septum nose piercing of Erik Campbell (Richard Harmon) and drags him toward a raging fire. Rahhali observes, “That was very Final Destination and a great Rube Goldberg build-up event. Richard was great. He was tied up on a stunt line for most of it, balancing on top of furniture. All of that was him doing it for real with a stunt line.” Some effects solutions can be surprisingly extremely simple. Rahhali continues, “Our producer [Craig Perry] came up with a great gag [for the] septum ring.” Richard’s nose was connected with just a nose plug that went inside his nostrils. “All that tugging and everything that you’re seeing was real. For weeks and weeks, we were all trying to figure out how to do it without it being a big visual effects thing. ‘How are we gonna pull his nose for real?’ Craig said, ‘I have these things I use to help me open up my nose and you can’t really see them.’ They built it off of that, and it looked great.” Filmmakers spent weeks figuring out how to execute the harrowing tattoo shop scene. A dangling chain from a ceiling fan attaches itself to the septum nose ring of Erik Campbell (Richard Harmon) – with the actor’s nose being tugged by the chain connected to a nose plug that went inside his nostrils. “[S]ome of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Campbell] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” —Nordin Rahhali, VFX Supervisor Most of the fire in the tattoo parlor was practical. “There are some fire bars and stuff that you’re seeing in there from SFX and the big pool of fire on the wide shots.” Sebaldt adds, “That was a lot of fun to shoot because it’s so insane when he’s dancing and balancing on all this stuff – we were laughing and laughing. We were convinced that this was going to be the best scene in the movie up to that moment.” Rahhali says, “They used the scene wholesale for the trailer. It went viral – people were taking out their septum rings.” Erik survives the parlor blaze only to meet his fate in a hospital when he is pulled by a wheelchair into an out-of-control MRI machine at its highest magnetic level. Rahhali comments, “That is a good combination of a bunch of different departments. Our Stunt Coordinator, Simon Burnett, came up with this hard pull-wire line [for] when Erik flies and hits the MRI. That’s a real stunt with a double, and he hit hard. All the other shots are all CG wheelchairs because the directors wanted to art-direct how the crumpling metal was snapping and bending to show pressure on him as his body starts going into the MRI.” To augment the believability that comes with reality, the directors aimed to capture as much practically as possible, then VFX Supervisor Nordin Rahhali and his team built on that result. (Photo: Eric Milner) A train derailment concludes the film after Stefani and her brother, Charlie, realize they are still on death’s list. A train goes off the tracks, and logs from one of the cars fly though the air and kills them. “That one was special because it’s a hard sequence and was also shot quite late, so we didn’t have a lot of time. We went back to Vancouver and shot the actual street, and we shot our actors performing. They fell onto stunt pads, and the moment they get touched by the logs, it turns into CG as it was the only way to pull that off and the train of course. We had to add all that. The destruction of the houses and everything was done in visual effects.” Erik survives the tattoo parlor blaze only to meet his fate in a hospital when he is crushed by a wheelchair while being pulled into an out-of-control MRI machine. Erik (Richard Harmon) appears about to be run over by a delivery truck at the corner of 21A Ave. and 132A St., but he’s not – at least not then. The truck is actually on the opposite side of the road, and the person being run over is Howard. A rolling penny plays a major part in the catastrophic chain reactions and seems to be a character itself. “The magic penny was a mix from two vendors, Pixomondo and FOLKS; both had penny shots,” Rahhali says. “All the bouncing pennies you see going through the vents and hitting the fan blade are all FOLKS. The bouncing penny at the end as a lady takes it out of her purse, that goes down the ramp and into the rail – that’s FOLKS. The big explosion shots in the Skyview with the penny slowing down after the kid throws it [off the deck] are all Pixomondo shots. It was a mix. We took a little time to find that balance between readability and believability.” Approximately 800 VFX shots were required for Final Destination Bloodlines. (Photo: Eric Milner) Chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated Death at some point in the Final Destination films. From left: Kaitlyn Santa Juana as Stefani Reyes, director Adam Stein, director Zach Lipovsky and Gabrielle Rose as Iris. (Photo: Eric Milner) Rahhali adds, “The film is a great collaboration of departments. Good visual effects are always a good combination of special effects, makeup effects and cinematography; it’s all the planning of all the pieces coming together. For a film of this size, I’m really proud of the work. I think we punched above our weight class, and it looks quite good.”
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