A swirling sea of pink, where fluffy tufts float majestically upward, while elsewhere violet plumes rain down from above. This is the Sun as seen in groundbreaking new images — and they're unlike anything you've ever laid eyes on.As detailed in a new study published in the journal Nature Astronomy, scientists have leveraged new coronal adaptive optics tech to bypass the blurriness caused by the turbulence of the Earth's atmosphere, a time-old obstacle that's frustrated astronomers' attempts to see features on our home star at a resolution better than 620 miles. Now, they've gotten it down to just under 40 miles — a light year sized leap.The result is some of the clearest images to date of the fine structures that make up the Sun's formidable corona, the outermost layer of its atmosphere known for its unbelievable temperatures and violent, unpredictable outbursts.The authors are optimistic that their blur-bypassing techniques will be a game-changer."These are by far the most detailed observations of this kind, showing features not previously observed, and it's not quite clear what they are," coauthor Vasyl Yurchyshyn, a research professor at the New Jersey Institute of Technology's Center for Terrestrial Research (CSTR), said in a statement about the work."It is super exciting to build an instrument that shows us the Sun like never before," echoed lead author Dirk Schmidt, an adaptive optics scientist at the US National Solar Observatory.Stretching for millions of miles into space, the corona is the staging ground for the Sun's violent outbursts, which range from solar storms, to solar flares, to coronal mass ejections. One reason scientists are interested in these phenomena is because they continue to batter our own planet's atmosphere, playing a significant role in the Earth's climate and wreaking havoc on our electronics. Then, at a reach totally beyond our very limited human purview, is the corona's mighty solar wind, which sweeps across the entire solar system, shielding it from cosmic rays.But astronomers are still trying to understand how these solar phenomena occur. One abiding mystery is why the corona can reach temperatures in the millions of degrees Fahrenheit, when the Sun's surface it sits thousands of miles above is no more than a relatively cool 10,000 degrees. The conundrum even has a name: the coronal heating problem.The level of detailed captured in the latest images, taken with an adaptive optics system installed on the Goode Solar Telescope at the CSTR, could be transformative in probing these mysteries.One type of feature the unprecedented resolution revealed were solar prominences, which are large, flashy structures that protrude from the sun's surface, found in twisty shapes like arches or loops. A spectacular video shows a solar prominence swirling like a tortured water spout as it's whipped around by the sun's magnetic field.Most awe-inspiring of all are the examples of what's known as coronal rain. Appearing like waterfalls suspended in midair, the phenomenon is caused as plasma cools and condenses into huge globs before crashing down to the sun's surface. These were imaged at a scale smaller than 100 kilometers, or about 62 miles. In solar terms, that's pinpoint accuracy."With coronal adaptive optics now in operation, this marks the beginning of a new era in solar physics, promising many more discoveries in the years and decades to come," said coauthor  Philip R. Goode at the CSTR in a statement.More on our solar system: Scientists Detect Mysterious Object in Deep Solar SystemShare This Article

WANTED, the International Contemporary Furniture Fair’s (ICFF) show-within-a-show, has grown almost exponentially since its first iteration as WantedDesign circa 2011, evolving so much so that the platform – with its iconic yellow walls nestled into the Javits Center – has become one of America’s go-to platforms to find emerging talent, tap into an intimate creative network, and discover trends ahead of the commercial industry. The 2025 showcase provided a wealth of inspiring design, we had to share a roundup all its own… Mockinbird Studio Epic in proportion, masterfully constructed, and officially record-making. The Farsala-based Mockinbird Studio showcased their most ambitious project to date: a monumental space divider. It is the largest – and arguably most beguiling – piece of contemporary marquetry artwork in existence, entirely designed and handcrafted in their Greece studio using traditional techniques. The object blends functionality with a narrative-driven, highly-aesthetic composition for the perfect piece of collectible design. Cuff Studio Cuff Studio presented their first solo exhibition, entitled “Within,” and unveiled select pieces from their Spring 2025 furniture collection of the same name. The C Back Lounge Chair – a trade exclusive – distills some of their favorite design gestures into an elegant, barely-their structural frame then paired with a sculptural waterfall seat and back cushion. Of note are the protruding curves that seemingly reach out for a handshake and the textural, pink upholstery seen here, which echoes triangular forms used across their broader portfolio. Mary Ratcliffe Studio + Anony Presenting together for their fourth ICFF, Mary Ratcliffe Studio (MRS) and Anony collaborated on a booth filled with sleek and sculptural, architecturally-inspired design objects. Their work is elementally complementary, which lent themselves to a more honest, fulsome showcase. MRS’s monumental furniture pieces are inspired by the physicality of material play, while Anony’s lighting takes inspiration from architectural gestures. Ready To Hang Mirrored surfaces are hard to resist, especially when their design makes you feel seen – figuratively speaking. Ready To Hang’s fashionable, ready-to-wear-inspired furnishings feel like fun accessories and an extension of personal style as they approach home decor through concepts found in styling for apparel. This year marked their ICFF debut with a highly curated showcase mixing classic pieces with a few concepts yet to come. UWU Studios Typically driven by a human-centered design ethos, multidisciplinary UWU Studios has expanded their scope to include the feline experience. Their UNU Cat Dreams product is equal parts pet play and collectible design, sure to please all parties. Even aesthetes without a furry friend can still appreciate its composition, blending surfaces, textures, colors, and forms for quite unique sculptural compositions. It’s an exemplary approach that elevates everyday objects to the venerable. Estudio PM Racking up multiple awards during the show – and rightfully so – Estudio PM demonstrated how fabric waste and unwanted textiles can be recontextualized within the realms of art and home furnishings. The duo behind the initiative created totems and garment-inspired side tables with the careful layering of reclaimed cloth. Noiro Studio Hand-blown glass lamps stood on various podiums in a curious display of artisanal lighting comprising colorful bases dotted with glass and stone orbs. Each globe’s curvature represented the fabric of spacetime, with precious objects are suspended within the glass shades – a steady reminder of our weight, and also insignificance, of our existence in the world. Noiro Studio plays with themes of heft and weightlessness, continuing to keep things relative. Ridezign Ridezign offers an ode to New York City. The Tesser Collection resembles skyscrapers in miniature blocks constructing cantilevered forms in multiple configurations and colors. These lamps leverage additive manufacturing making every piece made-to-order, reducing overstock, and ultimately eliminating the need for storage. The warm diffusion of the subsequent layers of material create lovely channels of light, adding to the spectacle of the city. Koba Furniture Koba Furniture is proud to create all elements for Series 02 within their Baltimore studio – except for the drawer pulls, shares designer Sam Acuff – a testament to the respect for craft that is clearly shown here. Jauntily stocky feet meet tiny tube legs, with a nicely balanced drawer set on top. Extra points for the elevated milk crate; it adds such a nice feel to the booth. 9 & 19 9 & 19 is back this year with organic shapes and cheeky details. Who doesn’t love an easter egg in design? From inlaid squiggles to handmade tiling, this collection offers a unique blend of customization and utility while remaining approachable and fun. Hannah Via Hannah Via brings some highly welcome fiber arts representation to WANTED, her tufted lamps bringing a sense of whimsy and possibility to the show. Sporting pops of scarlet, cobalt, and bronze, a light peach background acts as a pendant for a singular Edison bulb, which cases a cozy glow in an elegant connection to the warmth of the yarn it rests upon. Sawyer Made Lovingly crafted in Woodbury, Vermont, Sawyer Made is a second-generation family of woodworkers honoring the classic stance and build of a Windsor chair, but with a few modern updates. As the arm meets the back, the angle rotates 90 degrees offering a beautiful detail absent from most traditional Windsors. Like ballet, a combination of experienced craft and innate knowledge makes the hardest work look easy. Ora House Cobalt is back in a big way with Ora House, as evidenced by their removable upholstery panels that can be switched out to reflect any style or change in local decor. Playful, soft, and sturdy, the ottoman, bench, and hutch offer a fun way to sit, stay, and store. Daniel Gruetter Daniel Gruetter is a woodworker based in Toronto, Canada. Showing an elegant credenza created entirely out of the discarded offcuts from his practice, he upends what is considered valuable on a platform that inherently places value on everything. Employing wooden hinges takes the project to another level, letting a singular material do the talking through expert craftsmanship. Reces NYC With a nod to the cobalt we spotted around the show, Reces NYC wraps up our top picks for WANTED this year with a gestural upholstered piece. Elements extend in a satisfyingly solid manner to create an interesting and distinctly luxurious look users could get lost in. Check out out the rest of Design Milk’s NYCxDESIGN coverage here!

The Book Club gives their verdict on Larry Niven’s RingworldEugene Powers/Alamy It was quite an experience, moving from the technicolour magical realism of Michel Nieva’s wild dystopia, Dengue Boy, to Larry Niven’s slice of classic science fiction, Ringworld, first published in 1970 and very much redolent of the sci-fi writing of that era. Not a wholly bad experience, mind, but quite a jolting change of pace for the New Scientist Book Club. I was a teenager when I last read Ringworld, and a hugely uncritical sort of teenager at that, so I was keen to return to a novel I remembered fondly and see how it stood up to the test of time – and my somewhat more critical eye. The first thing to say is that many of the things I loved about Ringworld were very much still there. This is, for me, a novel that inspires awe – with the vastness of its imagination, the size of its megastructures, the distance it travels in space. I was reminded of that awe early on, when our protagonist Louis Wu (more on him later) recalls standing at the edge of Mount Lookitthat on a distant planet. “The Long Fall River, on that world, ends in the tallest waterfall in known space. Louis’s eyes had followed it down as far as they could penetrate the void mist. The featureless white of the void itself had grasped at his mind, and Louis Wu, half hypnotized, had sworn to live forever. How else could he see all there was to see?” Advertisement That hugeness, that desire for exploration and knowledge and discovery, is one of the main reasons why I love science fiction. What else is out there, and what can we find out about it? From that field of murderous sunflowers on the Ringworld – what a scene! – to Niven’s image of our crew in space, looking at the bottom of the Ringworld and the huge bulge of a deep ocean protruding towards them, Ringworld has this in spades, and I lapped it up. “A man can lose his soul among the white stars… They call it the far look. It is dangerous.” I also very much enjoyed how Niven makes us pick up the breadcrumbs of where we are in time and in technological developments; at one point, Freeman Dyson, he of the Dyson spheres that inspired the Ringworld, is described as “one of the ancient natural philosophers, pre-Belt, almost pre-atomic”. I find that sort of thing delightful, and I was also (largely) amused by Niven’s aliens, from the cowering terror of the Puppeteers to the brilliantly named Speaker-To-Animals (we, the aliens, are the animals). I pictured Speaker as a huge version of our large ginger cat, and rather liked him. As I wrote earlier, though, this is a piece of writing that feels very much of its time, in terms of the somewhat plodding prose and sexist overtones, even if it succeeds (for me) in the wonderful, star-spanning maths and physics of it all. Niven’s characters are pretty one-dimensional. Louis Wu is quite annoying. There could be so much more to Teela, our token woman. And once the crew are on the Ringworld, it all feels a bit “then they went here, then they went there”, rather than being tightly plotted. Join us in reading and discussing the best new science and science fiction books Sign up to newsletter There has been some intense discussion about this novel on our Facebook page, and many of you felt similarly. “While I enjoyed it very much, I kept getting pulled out of the interesting scientific aspects of the story as well as the rollicking adventure by the sexist, boys club aspects. It’s a little sad that Larry Niven’s view of the distant future didn’t involve any advancement in men’s views of women,” said Jennifer Marano. “It reminds me of early spy movies. Beautiful woman who hasn’t sense enough to not be enamored by less than interesting or intelligent male with pretty huge ego,” said Eliza Rose. Alan Perrett was even less impressed with Louis Wu’s behaviour: “I have to admit to finding Louis Wu absolutely creepy. He treats the woman that he professes to love with contempt. He laughs finding out that she’s the result of a eugenics experiment and then, when looking at her, sees her dismay and then keeps laughing. I hope when I’m 200 years old I’ve learned a little more empathy than that.” Gosia Furmanik grew up reading science fiction from Niven’s era because that was what was available – but “eventually, the sexism and lack of female/diverse protagonists put me off sci-fi for a good 15 years”. She only got back into sci-fi when she discovered “that nowadays it’s easy to find books of this genre written by non-white non-men that don’t have this pitfall”. “Ringworld brought me back, not in a good way,” Gosia writes. “While not as blatant as in some of its contemporaries, cringy sexism nevertheless seeps out of this book.” It’s definitely true that Teela’s character arc was the biggest issue for most of us with this book. “I loathed the ending of Teela’s story and the explanation of how her luck led her to come on the mission. It seems a woman can’t have a meaningful existence without a man!” wrote Samatha Lane. Samantha also makes a great point about how “the male human is the most perceptive creature in the universe” created by Niven. “This arrogance about the sheer cleverness of humans stems from traditional humanism which puts humans at the centre of everything – as rational, special, superior beings. Combine that with the recent conquest of space (man landed on the moon the year before) and it’s like a bonfire of the collective ego,” she writes. New Scientist book club Love reading? Come and join our friendly group of fellow book lovers. Every six weeks, we delve into an exciting new title, with members given free access to extracts from our books, articles from our authors and video interviews. Sign up Onto the positives, however: Niall Leighton “enjoyed the sheer scale of the novel” and thinks it hasn’t “dated as badly as much science fiction of this era”, while for Andy Feest, “the science was probably the most interesting thing” (he found the characters “unenjoyable” and the chauvinism “a bit jarring”). Some readers approved of Niven’s heavy hand with the maths – it “definitely added to my enjoyment”, wrote Linda Jones, while Darren Rumbold “especially liked” the Klemperer rosettes. It didn’t work for all of you, though: Phil Gurski “was excited to read this classic sci-fi novel and really, really wanted to enjoy it but the technobabble kept getting in the way. I found it hard to keep up.” Overall, I think the book club found it an interesting exercise to dig into this science fiction classic and hold it up to the light of today. I think we’ll do another classic soon enough, and I’m listening to suggestions from readers who have tipped books by Ursula K. Le Guin, N. K. Jemisin and Joanna Russ as possible palate cleansers. Next up, though, is something a little more modern: Kaliane Bradley’s bestselling time travel novel, The Ministry of Time. Yes, it has a woman as its protagonist, and yes, it passes the Bechdel test. You can read a piece by Kaliane here in which she explains why (and how) she wrote a novel about time travel, and you can check out this fun opener to the book here. Come and read along with us and tell us what you think on our Facebook page. 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Adapting the iconic, block-based design aesthetic of Mojang’s beloved Minecraft videogame into the hit feature film comedy adventure, The Minecraft Movie, posed an enormous number of hurdles for director Jared Hess and Oscar-winning Production VFX Supervisor Dan Lemmon. Tasked with helping translate the iconic pixelated world into something cinematically engaging, while remaining true to its visual DNA, was Wētā FX, who delivered 450 VFX shots on the film. And two of their key leads on the film were VFX Supervisor Sheldon Stopsack and Animation Supervisor Kevin Estey.  But the shot count merely scratches the surface of the extensive work the studio performed. Wētā led the design and creation of The Overworld, 64 unique terrains spanning deserts, lush forests, oceans, and mountain ranges, all combined into one continuous environment, assets that were also shared with Digital Domain for their work on the 3rd act battle. Wētā also handled extensive work on the lava-filled hellscape of The Nether that involved Unreal Engine for early representations used in previs, scene scouting, and onset during principal photography, before refining the environment during post-production. They also dressed The Nether with lava, fire, and torches, along with atmospherics and particulate like smoke, ash, and embers. But wait… there’s more! The studio’s Art Department, working closely with Hess, co-created the look and feel of all digital characters in the film. For Malgosha’s henchmen, the Piglins, Wētā designed and created 12 different variants, all with individual characteristics and personalities. They also designed sheep, bees, pandas, zombies, skeletons, and lovable wolf Dennis. Many of these characters were provided to other vendors for their work on the film. Needless to say, the studio truly became a “Master Builder” on the show. The film is based on the hugely popular game Minecraft, first released by Sweden’s Mojang Studios in 2011 and purchased by Microsoft for $2.5 billion in 2014, which immerses players in a low-res, pixelated “sandbox” simulation where they can use blocks to build entire worlds.  Here's the final trailer: In a far-ranging interview, Stopsack and Estey shared with AWN a peek into their creative process, from early design exploration to creation of an intricate practical cloak for Malgosha and the use of Unreal Engine for previs, postvis, and real-time onset visualization. Dan Sarto: The film is filled with distinct settings and characters sporting various “block” styled features. Can you share some of the work you did on the environments, character design, and character animation? Sheldon Stopsack: There's, there's so much to talk about and truth to be told, if you were to touch on everything, we would probably need to spend the whole day together.  Kevin Estey: Sheldon and I realized that when we talk about the film, either amongst ourselves or with someone else, we could just keep going, there are so many stories to tell. DS: Well, start with The Overworld and The Nether. How did the design process begin? What did you have to work with? SS: Visual effects is a tricky business, you know. It's always difficult. Always challenging. However, Minecraft stood out to us as not your usual quote unquote standard visual effects project, even though as you know, there is no standard visual effects project because they're all somehow different. They all come with their own creative ideas, inspirations, and challenges. But Minecraft, right from the get-go, was different, simply by the fact that when you first consider the idea of making such a live-action movie, you instantly ask yourself, “How do we make this work? How do we combine these two inherently very, very different but unique worlds?” That was everyone’s number one question. How do we land this? Where do we land this? And I don't think that any of us really had an answer, including our clients, Dan Lemmon [Production VFX Supervisor] and Jared Hess [the film’s director]. Everyone was really open for this journey. That's compelling for us, to get out of our comfort zone. It makes you nervous because there are no real obvious answers. KE: Early on, we seemed to thrive off these kinds of scary creative challenges. There were lots of question marks. We had many moments when we were trying to figure out character designs. We had a template from the game, but it was an incredibly vague, low-resolution template. And there were so many ways that we could go. But that design discovery throughout the project was really satisfying.  DS: Game adaptations are never simple. There usually isn’t much in the way of story. But with Minecraft, from a visual standpoint, how did you translate low res, block-styled characters into something entertaining that could sustain a 100-minute feature film? SS: Everything was a question mark. Using the lava that you see in The Nether as one example, we had beautiful concept art for all our environments, The Overworld and The Nether, but those concepts only really took you this far. They didn’t represent the block shapes or give you a clear answer of like how realistic some of those materials, shapes and structures would be. How organic would we go? All of this needed to be explored. For the lava, we had stylized concept pieces, with block shaped viscosity as it flowed down. But we spent months with our effects team, and Dan and Jared, just riffing on ideas. We came full circle, with the lava ending up being more realistic, a naturally viscous liquid based on real physics. And the same goes with the waterfall that you see in the Overworld.  The question is, how far do we take things into the true Minecraft representation of things? How much do we scale back a little bit and ground ourselves in reality, with effects we’re quite comfortable producing as a company? There's always a tradeoff to find that balance of how best to combine what’s been filmed, the practical sets and live-action performances, with effects. Where’s the sweet spot? What's the level of abstraction? What's honest to the game? As much as some call Minecraft a simple game, it isn't simple, right? It's incredibly complex. It's got a set of rules and logic to the world building process within the game that we had to learn, adapt, and honor in many ways. When our misfits first arrive and we have these big vistas and establishing shots, when you really look at it, you, you recognize a lot of the things that we tried to adapt from the game. There are different biomes, like the Badlands, which is very sand stoney; there's the Woodlands, which is a lush environment with cherry blossom trees; you’ve got the snow biome with big mountains in the background. Our intent was to honor the game. KE: I took a big cue from a lot of the early designs, and particularly the approach that Jared liked for the characters and to the design in general, which was maintaining the stylized, blocky aesthetic, but covering them in realistic flesh, fur, things that were going to make them appear as real as possible despite the absolutely unreal designs of their bodies. And so essentially, it was squared skeleton… squarish bones with flesh and realistic fur laid over top. We tried various things, all extremely stylized. The Creepers are a good example. We tried all kinds of ways for them to explode. Sheldon found a great reference for a cat coughing up a hairball. He was nice to censor the worst part of it, but those undulations in the chest and ribcage… Jared spoke of the Creepers being basically tragic characters that only wanted to be loved, to just be close to you. But sadly, whenever they did, they’d explode. So, we experimented with a lot of different motions of how they’d explode. DS: Talk about the process of determining how these characters would move. None seem to have remotely realistic proportions in their limbs, bodies, or head size. KE: There were a couple things that Jared always seemed to be chasing. One was just something that would make him laugh. Of course, it had to sit within the bounds of how a zombie might move, or a skeleton might move, as we were interpreting the game. But the main thing was just, was it fun and funny? I still remember one of the earliest gags they came up with in mocap sessions, even before I even joined the show, was how the zombies get up after they fall over. It was sort of like a tripod, where its face and feet were planted and its butt shoots up in the air. After a lot of experimentation, we came up with basic personality types for each character. There were 12 different types of Piglins. The zombies were essentially like you're coming home from the pub after a few too many pints and you're just trying to get in the door, but you can't find your keys. Loose, slightly inebriated movement. The best movement we found for the skeletons was essentially like an old man with rigid limbs and lack of ligaments that was chasing kids off his lawn. And so, we created this kind of bible of performance types that really helped guide performers on the mocap stage and animators later on. SS: A lot of our exploration didn’t stick. But Jared was the expert in all of this. He always came up with some quirky last-minute idea.  KE: My favorite from Jared came in the middle of one mocap shoot. He walked up to me and said he had this stupid idea. I said OK, go on. He said, what if Malgosha had these two little pigs next to her, like Catholic alter boys [the thurifers], swinging incense [a thurible]. Can we do that? I talked to our stage manager, and we quickly put together a temporary prop for the incense burners. And we got two performers who just stood there. What are they going to do? Jared said, “Nothing. Just stand there and swing. I think it would look funny.” So, that’s what we did.  We dubbed them the Priesty Boys. And they are there throughout the film. That was amazing about Jared. He was always like, let's just try it, see if it works. Otherwise ditch it. DS: Tell me about your work on Malgosha. And I also want to discuss your use of Unreal Engine and the previs and postvis work.  SS: For Malgosha as a character, our art department did a phenomenal job finding the character design at the concept phase. But it was a collective effort. So many contributors were involved in her making. And I'm not just talking about the digital artists here on our side. It was a joint venture of different people having different explorations and experiments. It started off with the concept work as a foundation, which we mocked up with 3D sketches before building a model. But with Malgosha, we also had the costume department on the production side building this elaborate cloak. Remember, that cloak kind of makes 80, 85% of her appearance. It's almost like a character in itself, the way we utilized it. And the costume department built this beautiful, elaborate, incredibly intricate, practical version of it that we intended to use on set for the performer to wear. It ended up being too impractical because it was too heavy. But it was beautiful. So, while we didn't really use it on set, it gave us something physically to kind of incorporate into our digital version. KE: Alan Henry is the motion performer who portrayed her on set and on the mocap stage. I've known him for close to 15 years. I started working with him on The Hobbit films. He was a stunt performer who eventually rolled into doing motion capture with us on The Hobbit. He’s an incredible actor and absolutely hilarious and can adapt to any sort of situation. He’s so improvisational. He came up with an approach to Malgosha very quickly. Added a limp so that she felt decrepit, leaning on the staff, adding her other arm as kind of like a gimp arm that she would point and gesture with.   Even though she’s a blocky character, her anatomy is very much a biped, with rounder limbs than the other Piglins. She's got hooves, is somewhat squarish, and her much more bulky mass in the middle was easier to manipulate and move around. Because she would have to battle with Steve in the end, she had to have a level of agility that even some of the Piglins didn't have. DS: Did Unreal Engine come into play with her?  SS: Unreal was used all the way through the project. Dan Lemmon and his team early on set up their own virtual art department to build representations of the Overworld and the Nether within the context of Unreal. We and Sony Imageworks tried to provide recreations of these environments that were then used within Unreal to previsualize what was happening on set during shooting of principal photography. And that's where our mocap and on-set teams were coming into play. Effects provided what we called the Nudge Cam. It was a system to do real-time tracking using a stereo pair of Basler computer vision cameras that were mounted onto the sides of the principal camera. We provided the live tracking that was then composited in real time with the Unreal Engine content that all the vendors had provided. It was a great way of utilizing Unreal to give the camera operators or DOP, even Jared, a good sense of what we would actually shoot. It gave everyone a little bit of context for the look and feel of what you could actually expect from these scenes.  Because we started this journey with Unreal having onset in mind, we internally decided, look, let's take this further. Let's take this into post-production as well. What would it take to utilize Unreal for shot creation? And it was really exclusively used on the Nether environment. I don’t want to say we used it for matte painting replacement. We used it more for say, let's build this extended environment in Unreal. Not only use it as a render engine with this reasonably fast turnaround but also use it for what it's good at: authoring things, quickly changing things, moving columns around, manipulating things, dressing them, lighting them, and rendering them. It became sort of a tool that we used in place of a traditional matte painting for the extended environments. KE: Another thing worth mentioning is we were able to utilize it on our mocap stage as well during the two-week shoot with Jared and crew. When we shoot on the mocap stage, we get a very simple sort of gray shaded diagnostic grid. You have your single-color characters that sometimes are textured, but they’re fairly simple without any context of environment. Our special projects team was able to port what we usually see in Giant, the software we use on the mocap stage, into Unreal, which gave us these beautifully lit environments with interactive fire and atmosphere. And Jared and the team could see their movie for the first time in a rough, but still very beautiful rough state. That was invaluable. DS: If you had to key on anything, what would say with the biggest challenges for your teams on the film? You're laughing. I can hear you thinking, “Do we have an hour?”  KE: Where do you begin?  SS: Exactly. It's so hard to really single one out. And I struggle with that question every time I've been asked that question. KE: I’ll start.  I've got a very simple practical answer and then a larger one, something that was new to us, kind of similar to what we were just talking about. The simple practical one is the Piglins square feet with no ankles. It was very tough to make them walk realistically. Think of the leg of a chair. How do you make that roll and bank and bend because there is no joint? There are a lot of Piglins walking on surfaces and it was a very difficult conundrum to solve. It took a lot of hard work from our motion edit team and our animation team to get those things walking realistically. You know, it’s doing that simple thing that you don't usually pay attention to. So that was one reasonably big challenge that is often literally buried in the shadows. The bigger one was something that was new to me. We often do a lot of our previs and postvis in-house and then finish the shots. And just because of circumstances and capacity, we did the postvis for the entire final battle, but we ended up sharing the sequence with Digital Domain, who did an amazing job completing some of the stuff on the Battlefield we did post on. For me personally, I've never experienced not finishing what I started. But it was also really rewarding to see how well the work we had put in was honored by DD when they took it over.   SS: I think the biggest challenge and the biggest achievement that I'm most proud of is really ending up with something that was well received by the wider audience. Of creating these two worlds, this sort of abstract adaptation of the Minecraft game and combining it with live-action. That was the achievement for me. That was the biggest challenge. We were all nervous from day one. And we continued to be nervous up until the day the movie came out. None of us really knew how it ultimately would be received. The fact that it came together and was so well received is a testament to everyone doing a fantastic job. And that's what I'm incredibly proud of. Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.

Image: Zion Grassl / Nintendo LifeI’m absolutely terrified of roller coasters. The lack of control you have, the speed, high heights, twists and turns - all this makes for something I’ve never been able to convince myself is worth the thrill. It was easy to get over my fear of flying in aeroplanes as there’s always something exciting and extraordinarily worthwhile waiting for me on the other side of the flight. Some things in life I would just never be able to do without flying far away in a plane. However, with roller coasters I couldn't say the same, until now. 'Mine Cart Madness' opened to the public at Universal Studios Japan in Osaka at the tail end of 2024, and is also now in the States at Universal Epic Universe in Orlando, Florida. I’ve visited the smaller version of Super Nintendo World located at Universal in Hollywood, CA, a few times, and managed to ride their Mario Kart ride, Bowser’s Challenge, as well. Lots of Kong, but still needs more Dixie The MK ride is essentially a light-gun game with a heavy Augmented Reality element which forces you to wear 'goggles' making it hard to appreciate the physical environment you're riding through. You can take the 'goggles' off, but you lose the entire point of the ride in doing so, and the animatronic set pieces and environmental elements aren't all that exciting on their own. The game can be confusing at first and, for being a ride themed around a video game that traditionally encourages you to race fast, it's quite slow, too. Images: Zion Grassl / Nintendo Life However, almost none of this can be said about the new Donkey Kong Country ride. I’m a much bigger DK fan than I am Mario, and even though this new Mine Cart ride is pitched as a more traditional roller coaster that sometimes even claims to go off the rails, my curiosity and love for the series had me clamouring to see what it had to offer. I’m thrilled to say it didn’t disappoint, even though it proved to be quite a bumpy ride at times. The queue for Mine Cart Madness takes you through a temple that reminded me most of Millstone Mayhem and Temple Tempest from the original Super Nintendo game. Most of the line is indoors or at least covered and was kept quite cool thanks to air conditioning, also featuring some themed water fountains if you need a drink. Here you’ll also find a few touchpoints for the Power Band that will net you digital collectibles if you’re using the Universal mobile app. The line is fairly simple with not much to see, aside from a surprising appearance from Cranky Kong and Squawks the parrot. Both are completely animatronic and fully voiced and bicker back and forth at each other. Not only do they help pass the time in line, they help lay down the story and what you can expect to see on the ride. Even though I had no one waiting in front of me, I stood here for quite a while and just listened to them chat, like a couple of good pals catching up after a long time apart. Images: Zion Grassl / Nintendo Life Once it came time for me to sit down in my mine cart, I could feel my heart sink into my stomach as I remembered seeing the ride from the ground floor of the park and it going much, much faster than all of the other Nintendo-themed rides created up to this point. I was honestly pretty scared, but my love for the Kongs apparently knows no bounds, and it helped that I had a few pals with me (thanks, Brian from IGN and Marcus from Game Informer for keeping me calm!). The ride itself only lasts a few minutes, so I’ll refrain from spoiling too much as I really think if you’re going to do this, you should go in knowing as little as possible. Things really do go off the rails in some surprising and shocking ways, though. So much so that at one specific point on the ride, I thought it truly was the end for us. If you’ve seen the blueprints or caught the video of Miyamoto taking a tour of the park in Japan, you’ll likely have heard about the ride's big hook. If you've played a mine cart level in DKC, you'll know that platforming is very much a thing even in the mine cart, and that’s replicated here. Mine Cart Madness, never goes upside down (thankfully), but it takes you up and down some steep slopes and twists and turns every now and again, mimicking the feeling of flying off the rails and landing safely back on them. The jumps themselves didn’t feel as pronounced as I was expecting, as it seems to work more as a trick of the eye than your cart being hurled in the air. Honestly, that’s probably a good thing. Also, if you want a more authentic and adventurous experience, sit in one of the front seats if you can. Image: Zion Grassl / Nintendo Life You’ll also meet a few of your favourite DKC buddies, and this alone kept me coming back to Mine Cart Madness for multiple rides. These animatronic set pieces make this ride a lot more fun than the Mario Kart ride to revisit, as it's so exciting to see these chimpanzees in action. There are more than just chimps to see, though, so if you're only familiar with the more recent Country games, there will be more surprises in store. For me, the ride was made even better at night as yellow and blue neon lights add a comforting glow to the experience. You’ll rush through a few indoor sections which make it feel like a dark ride at times too. There’s so much to look at that not once did I feel like I saw everything; if you swing your head around at different points, you may catch a nice glimpse of the park, a dainty splash of a rushing waterfall, or even a few adventurous Pikmin that broken away from the pack. This may just be a kink to be worked out, but every now and then I felt the ride could get quite bumpy. After exiting my mine cart, I heard other riders talk about how unexpectedly bumpy it was for them, too. I can’t imagine barreling down a mine shaft in a rusty rock wagon would be the most comfortable thing in real life, so maybe it’s just all a part of the experience. Something worth noting, though, no doubt. Images: Zion Grassl / Nintendo Life What might be a downside for some is the fact that there’s no game element to this ride whatsoever. For me though, this was a huge win. Seeing the detail and quality in these animatronics, even just for a few short moments, is something I'll remember for a long, long time. It sounds silly, but this made me feel closer to the world of Donkey Kong Country than ever before - the Mario Kart ride didn’t leave this big of an impression. It's a huge step up in overall production and an experience I hope every diehard DKC fan can have in their life. As a member of the press, I was pretty much obliged to try it, but I think I finally understand the thrill people are chasing when they willingly choose to ride a roller coaster. If Nintendo and Universal decide to make their next ride even more intense, I hope I’ll be ready for it. Even if it had a name like 'Funky’s Crash Course.' Travel costs for this trip and early access to the park were provided by Universal. Let's use the Lens of Truth Share:0 1 Zion's been crafting videos and photos with our team for over half a decade now. While you'll usually find Zion playing RPGs, platformers, and adventure games, anything with a good story is sure to be right up his alley. For an on brand example: MOTHER 3 may not be recognized much by the Western side of Nintendo, but he still found a way to play it anyways and hopes it makes it way to the West officially so others can enjoy it more easily. Hold on there, you need to login to post a comment... Related Articles Shigeru Miyamoto Explains Why Donkey Kong Has Been Redesigned You want expressive? You got it Talking Point: The Switch 2 Pre-Order Situation Sucks, But Can Nintendo Do Anything About It? 503sier said than done Random: Miyamoto Can't Talk About Switch 2, Talks About Switch 2 Anyway I do what I want, bruv! Nintendo Partners With Samsung To Produce Main Chips For Switch 2 Samsung has also "pushed" for an OLED refresh, it's claimed

Windows may get all the attention, but when you want to get real work done, you turn to the applications that run on it. And if you use spreadsheets, that generally means Excel. Excel is, of course, part of Microsoft’s Office suite of productivity tools. Microsoft sells Office under two models: Individuals and businesses can pay for the software license up front and own it forever (what the company calls the “perpetual” version of the suite), or they can purchase a Microsoft 365 subscription, which means they have access to the software for only as long as they keep paying the subscription fee. When you purchase a perpetual version of the suite — say, Office 2021 or Office 2024 — its applications will never get new features, whereas Microsoft 365 apps are continually updated with new features. For more details, see our in-depth comparison of the two Office models. This cheat sheet gets you up to speed on the features that have been introduced or changed in Microsoft 365’s Excel for Windows desktop client over the past few years. (If you’re looking for Excel tips for the perpetual-license Office suite, see our Office 2021 and 2024 cheat sheet.) We’ll periodically update this story as new features roll out. In this article Use the Ribbon Search to get tasks done quickly Explore Excel’s advanced chart types Collaborate in real time Take advantage of linked data Make your own custom views of a worksheet Create dynamic arrays and charts Use AutoSave to provide a safety net as you work Review or restore earlier versions of a spreadsheet Try out Microsoft 365 Copilot in Excel — but don’t expect too much Other new features to check out Use keyboard shortcuts Use the Ribbon The Ribbon interface, which puts commonly used commands in a tabbed toolbar running across the top of the application window, is alive and well in the current version of Excel. Microsoft has tweaked the Ribbon’s looks numerous times over the years, but it still works the same way it always has: just click one of the Ribbon’s tabs to see related commands on the toolbar. For example, click Insert to find buttons for inserting tables, PivotTables, charts, and more. Through the years, Excel’s Ribbon has gotten a variety of cosmetic changes, but it still works largely the way it always has. Preston Gralla / Foundry Just as in previous versions of Excel, if you want the Ribbon commands to go away, press Ctrl-F1 or click the name of the tab you’re currently on. (The tabs above the Ribbon — File, Home, Insert, and so on — stay visible.) To make the commands reappear, press Ctrl-F1 again or click any tab name. You’ve got other options for displaying the Ribbon as well. To get to them, click the Ribbon display options icon (a down arrow) on the bottom of the Ribbon at the far right, just below the Share button. A drop-down menu appears with these four options: Full-screen mode: This makes Excel take up your entire screen and hides the Ribbon. To get out of full-screen mode, click the three-dot icon at the upper right of the screen. Show tabs only: This shows the tabs but hides the commands underneath them. It’s the same as pressing Ctrl-F1. To display the commands underneath the tabs when they’re hidden, press Ctrl-F1, click a tab, or click the Ribbon display options down arrow and select Always show Ribbon. Always show Ribbon: This displays the entire Ribbon, both the tabs and commands underneath them. Show/Hide Quick Access toolbar: This displays or hides the Quick Access toolbar, which gives you fast access to Excel commands you want to have available no matter which tab you’re on. When you enable the toolbar, it starts off empty. To populate it, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, choose which features to put on it. If you don’t see a command you want, click More Commands. Find the command you want on the left and click Add. You can have the toolbar appear either at the top of the screen, just to the right of the AutoSave button, or just underneath the Ribbon. To move it from one place to another, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, select either Show below the Ribbon or Show above the Ribbon.  Microsoft has for many years teased a simplified version of the Ribbon that hides most of the commands to reduce clutter. That simplified Ribbon is available in the Excel web app, but there’s currently no sign that it will appear in the Excel desktop app. There’s a useful feature in what Microsoft calls the backstage area that appears when you click the File tab on the Ribbon. If you click Open or Save a Copy from the menu on the left, you can see the cloud-based services you’ve connected to your Office account, such as SharePoint and OneDrive. Each location displays its associated email address underneath it. This is quite helpful if you use a cloud service with more than one account, such as if you have one OneDrive account for personal use and another one for business. You’ll be able to see at a glance which is which. Click the Add a service dropdown to add another cloud storage account. Preston Gralla / Foundry Search to get tasks done quickly Excel has never been the most user-friendly of applications, and it has so many powerful features it can be tough to keep track of them all. That’s where the handy Search feature comes in. To use it, click in the Search box — it’s above the Ribbon in the green title area. (Keyboard fans can instead press Alt-Q.) Then type in a task you want to do. If you want to summarize your spreadsheet data using a PivotTable, for example, type in something like summarize with pivot table. You’ll get a menu showing potential matches for the task. In this instance, the top result is a direct link to the form for summarizing with a PivotTable — select it and you’ll start your task right away, without having to go to the Ribbon’s Insert tab first. The search box makes it easy to perform just about any task in Excel. Preston Gralla / Foundry If you’d like more information about your task, the final items that appear in the menu let you select from related Help topics. Even if you consider yourself a spreadsheet jockey, it’s worth your while to try out the enhanced search function. It’s a big time-saver, and far more efficient than hunting through the Ribbon to find a command. Also useful is that it remembers the features you’ve previously clicked on in the box, so when you click in it, you first see a list of previous tasks you’ve searched for. That makes sure that tasks that you frequently perform are always within easy reach. And it puts tasks you rarely do within easy reach as well. Users of enterprise and education editions of Microsoft 365 can also use the Search box to find people in their organization, SharePoint resources, and other personalized results from within Excel. (See the Microsoft Search support page for more details about all it can do.) Explore Excel’s advanced chart types Charts are great for visualizing and presenting spreadsheet data, and for gaining insights from it. To that end, Microsoft has introduced a number of advanced chart types over the past several years, including most notably a histogram (frequently used in statistics), a “waterfall” that’s effective at showing running financial totals, and a hierarchical treemap that helps you find patterns in data. Note that the new charts are available only if you’re working in an .xlsx document. If you use the older .xls format, you won’t find them. To see all the charts, put your cursor in a cell or group of cells that contains data, select Insert > Recommended Charts and click the All Charts tab. You’ll find the newer charts, mixed in with the older ones. Select any to create the chart. (For help using charts, see our guide to charts and sparklines in Excel.) Excel includes several advanced chart types, including waterfall. Preston Gralla / Foundry These are the new chart types: Treemap. This chart type creates a hierarchical view of your data, with top-level categories (or tree branches) shown as rectangles, and with subcategories (or sub-branches) shown as smaller rectangles grouped inside the larger ones. Thus, you can easily compare the sizes of top-level categories and subcategories in a single view. For instance, a bookstore can see at a glance that it brings in more revenue from 1st Readers, a subcategory of Children’s Books, than for the entire Non-fiction top-level category. srcset="https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?quality=50&strip=all 830w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=300%2C191&quality=50&strip=all 300w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=768%2C489&quality=50&strip=all 768w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=264%2C168&quality=50&strip=all 264w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=132%2C84&quality=50&strip=all 132w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=753%2C480&quality=50&strip=all 753w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=565%2C360&quality=50&strip=all 565w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=392%2C250&quality=50&strip=all 392w" width="830" height="529" sizes="(max-width: 830px) 100vw, 830px">A treemap chart lets you easily compare top-level categories and subcategories in a single view. Preston Gralla / Foundry Sunburst. This chart type also displays hierarchical data, but in a multi-level pie chart. Each level of the hierarchy is represented by a circle. The innermost circle contains the top-level categories, the next circle out shows subcategories, the circle after that subsubcategories and so on. Sunbursts are best for showing the relationships among categories and subcategories, while treemaps are better at showing the relative sizes of categories and subcategories. A sunburst chart shows hierarchical data such as book categories and subcategories as a multi-level pie chart. Preston Gralla / Foundry Waterfall. This chart type is well-suited for visualizing financial statements. It displays a running total of the positive and negative contributions toward a final net value. A waterfall chart shows a running total of positive and negative contributions, such as revenue and expenses, toward a final net value. Preston Gralla / Foundry Histogram. This kind of chart shows frequencies within a data set. It could, for example, show the number of books sold in specific price ranges in a bookstore. Histograms are good for showing frequencies, such as number of books sold at various price points. Preston Gralla / Foundry Pareto. This chart, also known as a sorted histogram, contains bars as well as a line graph. Values are represented in descending order by bars. The cumulative total percentage of each bar is represented by a rising line. In the bookstore example, each bar could show a reason for a book being returned (defective, priced incorrectly, and so on). The chart would show, at a glance, the primary reasons for returns, so a bookstore owner could focus on those issues. Note that the Pareto chart does not show up when you select Insert > Recommended Charts > All Charts. To use it, first select the data you want to chart, then select Insert > Insert Statistic Chart, and under Histogram, choose Pareto. In a Pareto chart, or sorted histogram, a rising line represents the cumulative total percentage of the items being measured. In this example, it’s easy to see that more than 80% of a bookstore’s returns are attributable to three problems. Preston Gralla / Foundry Box & Whisker. This chart, like a histogram, shows frequencies within a data set but provides for a deeper analysis than a histogram. For example, in a bookstore it could show the distribution of prices of different genres of books. In the example shown here, each “box” represents the first to third quartile of prices for books in that genre, while the “whiskers” (the lines extending up and down from the box) show the upper and lower range of prices. Outliers that are priced outside the whiskers are shown as dots, the median price for each genre is shown with a horizontal line across the box, and the mean price is shown with an x. Box & Whisker charts can show details about data ranges such as the first to third quartile in the “boxes,” median and mean inside the boxes, upper and lower range with the “whiskers,” and outliers with dots.Preston Gralla / Foundry Funnel. This chart type is useful when you want to display values at multiple stages in a process. A funnel chart can show the number of sales prospects at every stage of a sales process, for example, with prospects at the top for the first stage, qualified prospects underneath it for the second stage, and so on, until you get to the final stage, closed sales. Generally, the values in funnel charts decrease with each stage, so the bars in the chart look like a funnel. Funnel charts let you display values at multiple stages in a process. Preston Gralla / Foundry When creating the data for a funnel chart, use one column for the stages in the process you’re charting, and a second column for the values for each stage. Once you’ve done that, to create the chart, select the data, then select Insert > Recommended Charts > All Charts > Funnel. Map. Map charts do exactly what you think they should: They let you compare data across different geographical regions, such as countries, regions, states, counties, or postal codes. Excel will automatically recognize the regions and create a map that visualizes the data. You can compare data across different locations with a map chart. Preston Gralla / Foundry To create a map chart, select the data you want to chart, then select Insert > Maps, then select the map chart. Note that in some instances, Excel might have a problem creating the map — for example, if there are multiple locations with the same name as one that you’re mapping. If that occurs, you’ll have to add one or more columns with details about the locations. If, say, you’re charting towns in the United Kingdom, you would have to include columns for the county and country each town is located in. Collaborate in real time For those who frequently collaborate with others, a welcome feature in Excel for Microsoft 365 is real-time collaboration that lets people work on spreadsheets together from anywhere in the world with an internet connection. Microsoft calls this “co-authoring.” Note that in order to use co-authoring, the spreadsheet must be stored in OneDrive, OneDrive for Business, or SharePoint Online, and you must be logged into your Microsoft 365 account. Also, co-authoring works in Excel only if you have AutoSave turned on. To do it, choose the On option on the AutoSave slider at the top left of the screen. To share a spreadsheet so you can collaborate on it with others: first open it, then click the Share button on the upper-right of the Excel screen. The “Send link” window pops up. Here you can send an email with a link where others can access the spreadsheet. Use the “Send link” pane to share a document and the “Link settings” pane to fine-tune its access permissions. Preston Gralla / Foundry Enter the email address of the person with whom you want to share in the text box. Enter multiple addresses, separated by commas, if you want to share the workbook with multiple people. One feature I found particularly useful when adding email addresses: As you type, Excel looks through your corporate or personal address book and lists the names and addresses of contacts who match the text you’ve input. Click the address you want to add. This not only saves you a bit of time but helps make sure you don’t incorrectly type in addresses. Next, decide whether anyone with the link can access the file, or only those whose email addresses you enter. If you see the text “Anyone with the link can edit” near the top of the pane, you can change that by clicking it, then choosing Specific people on the screen that appears. Similarly, if “Specific people” appears above the email addresses, you can change that by clicking it, then choosing Anyone with the link can edit from the screen that appears. (If you use a business, enterprise, or education edition of Office, your IT department may have set up different sharing permissions on these two screens, such as an option to allow anyone within your organization to edit the document. You may also need to click a Link settings button — a gear icon — to access the “Link settings” pane.) On this second screen you can also set the document to read-only for everybody, or allow everybody to edit it. In the “Other settings” section, click the down arrow and choose either Can edit, which allows full editing, or Can view, which is read-only. If you want to give certain people editing privileges and others view-only privileges, you can send two separate invitations with different rights selected. On this screen you can also set an expiration date after which people won’t be able to access the file, and you can set a password so that only people who have the password can access it. When you’ve made your selections, click Apply. Back in the main “Send link” screen, you can send a message along with the link by typing it into the Message box. Then click Send. An email is sent to all the recipients with a link they can click to open the document. Your collaborators will get an email like this when you share a spreadsheet. Preston Gralla / Foundry (If you’d rather send recipients a copy of the file as an Excel file instead of a link, and thus not allow real-time collaboration, click Send a copy at the bottom of the “Send link” screen.) There’s another way to share a file stored in a personal OneDrive for collaboration: In the “Copy link” area at the bottom of the “Send link” pane, click Copy. When you do that, you can copy the link and send it to someone yourself via email. Note that you have the same options for setting access and editing permissions as you do if you have Excel send the link directly for you. Just click Anyone with the link can edit or Specific people below “Copy link,” and follow the instructions above. To begin collaborating: When your recipients receive the email and click to open the spreadsheet, they’ll open it in the web version of Excel in a browser, not in the desktop version of Excel. If you’ve granted them edit permissions, they can begin editing immediately in the browser or else click Editing > Open in Desktop App on the upper right of the screen to work in the Excel desktop client. Excel for the web is less powerful and polished than the desktop client, but it works well enough for real-time collaboration. As soon as any collaborators open the file, you’ll see a colored cursor that indicates their presence in the file. Each person collaborating gets a different color. Hover your cursor over a colored cell that indicates someone’s presence, and you’ll see their name. Once they begin editing the workbook, such as entering data or a formula into a cell, creating a chart, and so on, you see the changes they make in real time. Your cursor also shows up on their screen as a color, and they see the changes you make. You can easily see where collaborators are working in a shared worksheet. Preston Gralla / Foundry Collaboration includes the ability to make comments in a file, inside individual cells, without actually changing the contents of the cell. To do it, right-click a cell, select New Comment and type in your comment. Everyone collaborating can see that a cell has a comment in it — it’s indicated by a small colored notch appearing in the upper right of the cell. The color matches the person’s collaboration color. To see someone’s comment in a cell, hover your cursor over the cell or put your cursor in the cell and you’ll see the comment, the name of the person who made the comment, and a Reply box you can use to send a reply. You can also click the Comments button on the upper right of the screen to open the Comments pane, which lists every comment by every person. Click any comment to jump to the cell it’s in. You can also reply when you click a comment in the pane. You can make see comments that other people make, and make comments yourself. Preston Gralla / Foundry Take advantage of linked data Excel for Microsoft 365 has a feature that Microsoft calls “linked data types.” Essentially, they’re cells that are connected to an online source (Bing) that automatically updates their information — for example, a company’s current stock price. As I write this, there are nearly approximately 100 linked data types, including not just obvious data types such as stocks, geography, and currencies, but many others, including chemistry, cities, anatomy, food, yoga, and more. To use them, type the items you want to track into cells in a single column. For stocks, for example, you can type in a series of stock ticker symbols, company names, fund names, etc. After that, select the cells, then on the Ribbon’s Data tab, select Stocks in the Data Types section in the middle. (If you had typed in geographic names such as countries, states, or cities, you would instead select Geography.) Excel automatically converts the text in each cell into the matching data source — in our example, into the company name and stock ticker. Excel also adds a small icon to the left edge of each cell identifying it as a linked cell. Click any icon and a data card will pop up showing all sorts of information about the kind of information you’ve typed in.  For instance, a stock data card shows stock-related information such as current price, today’s high and low, and 52-week high and low, as well as general company information including industry and number of employees. A location card shows the location’s population, capital, GDP, and so on. You can build out a table using data from the data card. To do so, select the cells again, and an Insert Data button appears. Click the button, then select the information you want to appear, such as Price for the current stock price, or Population for the population of a geographic region. srcset="https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?quality=50&strip=all 620w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=300%2C293&quality=50&strip=all 300w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=172%2C168&quality=50&strip=all 172w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=86%2C84&quality=50&strip=all 86w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=491%2C480&quality=50&strip=all 491w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=368%2C360&quality=50&strip=all 368w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=256%2C250&quality=50&strip=all 256w" width="620" height="606" sizes="(max-width: 620px) 100vw, 620px">Linked data types let you insert information, such as a company’s high and low stock prices, that is continually updated. Preston Gralla / Foundry Excel will automatically add a column to the right populated with the latest information for each item you’re tracking, and will keep it updated. You can click the Insert Data button multiple times to keep adding columns to the right for different types of data from the item’s data card.  It’s helpful to add column headers so you know what each column is showing. Make your own custom views of a worksheet Sheet Views let you make a copy of a sheet and then apply filtered or sorted views of the data to the new sheet. It’s useful when you’re working with other people on a spreadsheet, and someone wants to create a customized view without altering the original sheet. You can all create multiple custom-filtered/sorted views for a sheet. Once you’ve saved a sheet view, anyone with access to the spreadsheet can see it. Note: To use this feature, your spreadsheet must be stored in OneDrive. Sheet views work best when your data is in table format. Select the data, then go to the Ribbon toolbar and click the Insert tab. Near the left end of the Insert toolbar, click the Table button and then OK. To create a new sheet view, click the Ribbon’s View tab, then click the New button in the Sheet View area at the far left. The row numbers and column letters at the left and top of your spreadsheet turn black to let you know you’re in a new sheet view. In the Sheet View area of the Ribbon, it says Temporary View, the default name given to a new sheet view before you’ve saved it. Here’s a sheet view with data sorted from highest to lowest costs. Preston Gralla / Foundry Now apply whatever sorting and filtering you like to the data. (If you need help, see the “How to sort and filter data” section of our Excel tables guide.) To save this view, click the Keep button in the Sheet View area of the Ribbon. When you do that, it is saved as “View1” by default. You can click View1 and type in a more meaningful name for the view. When you click Exit on this toolbar, you return to your spreadsheet, and the row numbers and columns on the left and top of the spreadsheet are no longer black. To switch from one sheet view to another, click the View tab. At the left of the Ribbon toolbar, click the down arrow next to the name of the current view (it will say Default if you’re viewing the spreadsheet without a sheet view applied) to open a dropdown list of the sheet views created for the spreadsheet. Click the name of a sheet view to switch to it. Whenever you’re looking at a sheet view, the row numbers and column letters framing your spreadsheet remain black to indicate that you’re in a sheet view, not the original spreadsheet. Create dynamic arrays and charts Dynamic arrays let you write formulas that return multiple values based on your data. When data on the spreadsheet is updated, the dynamic arrays automatically update and resize themselves. To create a dynamic array, first create a table as outlined in the previous tip. Make sure to include a column that lists categories. Also put in at least one column to its right that lists corresponding values. Put a header at the top of each column. So, for example, if you’re creating a spreadsheet for a business trip budget, Column A might list expenses, such as plane tickets, meals, hotel, etc., and Column B could list each item’s cost on the same row. Once you’ve set up the table, use a dynamic array function on it, such as FILTER, SORT, or UNIQUE to create a dynamic array next to the table. Here’s an example of a formula for using the FILTER function: =FILTER(A2:B9, B2:B9 < 2000) This tells Excel to show only the items that cost less than $2,000 in the array. The FILTER function created a data array showing only the items with costs below $2,000. Preston Gralla / Foundry Now, whenever the data in your source table changes, the dynamic array updates and resizes itself to accommodate the changes. That means the dynamic array is always up to date. So in our example, if you add new items with values under $2,000 to the table, the dynamic array will enlarge itself and include those new items. In the same way, you can use the SORT function to sort data and the UNIQUE function to remove duplicate data. (Read about more ways to use the FILTER, SORT, and UNIQUE functions from Microsoft support.) You create a dynamic chart from the dynamic array in the same way you do any other Excel chart. Select the cells from the dynamic array that you want to chart, then select the Insert tab and select the type of chart you want to add. When the source data changes in a way that affects the dynamic array that the chart is based on, both the dynamic array and the chart will be updated. Use AutoSave to provide a safety net as you work If you’re worried that you’ll lose your work on a worksheet because you don’t constantly save it, you’ll welcome the AutoSave feature. It automatically saves your files for you, so you won’t have to worry about system crashes, power outages, Excel crashes and similar problems. It only works only on documents stored in OneDrive, OneDrive for Business, or SharePoint Online. It won’t work with files saved in the older .xls format or files you save to your hard drive. AutoSave is a vast improvement over the previous AutoRecover feature built into Excel. AutoRecover doesn’t save your files in real time; instead, every several minutes it saves an AutoRecover file that you can try to recover after a crash. It doesn’t always work, though — for example, if you don’t properly open Excel after the crash, or if the crash doesn’t meet Microsoft’s definition of a crash. In addition, Microsoft notes, “AutoRecover is only effective for unplanned disruptions, such as a power outage or a crash. AutoRecover files are not designed to be saved when a logoff is scheduled or an orderly shutdown occurs.” And the files aren’t saved in real time, so you’ll likely lose several minutes of work even if all goes as planned. AutoSave is turned on by default in Excel for Microsoft 365 .xlsx workbooks stored in OneDrive, OneDrive for Business, or SharePoint Online. To turn it off (or back on again) for a workbook, use the AutoSave slider on the top left of the screen. If you want AutoSave to be off for all files by default, select File > Options > Save and uncheck the box marked AutoSave files stored in the Cloud by default on Excel. Using AutoSave may require some rethinking of your workflow. Many people are used to creating new worksheets based on existing ones by opening the existing file, making changes to it, and then using Save As to save the new version under a different name, leaving the original file intact. Be warned that doing this with AutoSave enabled will save your changes in the original file. Instead, Microsoft suggests opening the original file and immediately selecting File > Save a Copy (which replaces Save As when AutoSave is enabled) to create a new version. If AutoSave does save unwanted changes to a file, you can always use the Version History feature described below to roll back to an earlier version. Review or restore earlier versions of a spreadsheet There’s an extremely useful feature hiding in the title bar in Excel for Microsoft 365: You can use Version History to go back to previous versions of a file, review them, compare them side-by-side with your existing version, and copy and paste from an older file to your existing one. You can also restore an entire old version. To do it, click the file name at the top of the screen in an open file. A drop-down menu appears. Click Version History, and the Version History pane appears on the right side of the screen with a list of the previous versions of the file, including the time and date they were saved. (Alternatively, you can select the File tab on the Ribbon, click Info from the menu on the left, and then click the Version History button.) Use Version History to see all previous versions of a spreadsheet, copy and paste from an older file to your existing one, or restore an entire old version. Preston Gralla / Foundry In the Version History pane, click Open version under any older version, and that version appears as a read-only version in a new window. Scroll through the version and copy any content you want, then paste it into the latest version of the file. To restore the old version, overwriting the current one, click the Restore button. Try out Microsoft 365 Copilot in Excel — but don’t expect too much For an additional subscription fee, business users of Excel can use Microsoft’s genAI add-in, Microsoft 365 Copilot. You can have Copilot suggest and create charts, create formulas, mine spreadsheets for data insights you might have missed, and more. If you have a Microsoft 365 Personal or Family subscription, many of those features are now bundled with your core subscription. To start using Copilot in Excel, open a spreadsheet and click the Copilot button at the right of the Ribbon’s Home tab. The Copilot panel will appear on the right, offering suggestions for actions it can perform, such as summarizing your data with a chart, adding formulas to the spreadsheet, or applying conditional formatting to the sheet. You can also chat with Copilot in the panel, asking questions about your data or how to perform an action yourself. Note that these suggestions are generic and won’t always make sense. For example, when you start with a blank worksheet and click the Copilot button, its suggestions include summarizing data using pivot tables or charts, even though there’s no data to chart or put into a table. Microsoft 365 Copilot can help you in multiple ways in Excel, including creating formulas and charts, mining spreadsheets for insights, and more. Preston Gralla / Foundry In my testing, I found that Copilot wasn’t particularly helpful. For example, when I asked it to summarize data using a PivotTable or chart, several times it responded, “Something went wrong. Please try again in a moment.” Then it said that I first needed to reformat parts of my spreadsheet by using the Transform() function, and gave confusing advice on how I could do it — it wouldn’t do the task itself. (Eventually, I gave up.) When I asked it to suggest conditional formatting for my spreadsheet, which would highlight important data, it told me which data I should highlight but didn’t explain why the data was important. It also didn’t do the highlighting for me or tell me how to do it. I gave it one more try and asked it to perform an advanced analysis, which it would use Python to do. It certainly did something, although it was unclear what it was. It overwrote my original spreadsheet and added a section that claimed to show annual growth rates for revenue streams. But the data seemed to be incorrect. Perhaps advanced spreadsheet jockeys might be able to make sense of what Copilot is up to whenever they ask it for help. But mere mortal businesspeople may find it of no help at all. In my testing, I found Copilot not at all helpful, although spreadsheet jockeys may be able to make some sense of what it does. Preston Gralla / Foundry What’s more, Microsoft’s focus on Copilot in M365 has reduced the usefulness of Excel in some ways. For example, there used to be a handy feature called Smart Lookup that let you conduct targeted web searches from inside Excel. But at the beginning of 2025, Microsoft removed Smart Lookup from Excel, saying that the feature has been deprecated. Now the only way to search the web from inside Excel is via Copilot, which lacks some features of Smart Lookup — notably the ability to highlight words or phrases in a document and trigger an automatic web search. And M365 Copilot isn’t available to business customers unless they pay the additional subscription fee. Other features to check out Spreadsheet pros will be pleased with several other features and tools that have been added to Excel for Microsoft 365 over the past few years, from a quick data analysis tool to an advanced 3D mapping platform. Get an instant data analysis If you’re looking to analyze data in a spreadsheet, the Quick Analysis tool will help. Highlight the cells you want to analyze, then move your cursor to the lower right-hand corner of what you’ve highlighted. A small icon of a spreadsheet with a lightning bolt on it appears. Click it and you’ll get a variety of tools for performing instant analysis of your data. For example, you can use the tool to highlight the cells with a value greater than a specific number, get the numerical average for the selected cells, or create a chart on the fly. The Quick Analysis feature gives you a variety of tools for analyzing your data instantly. Preston Gralla / Foundry Translate text You can translate text from right within Excel. Highlight the cell whose text you want translated, then select Review > Translate. A Translator pane opens on the right. Excel will detect the words’ language at the top of the pane; you then select the language you want it translated to below. If Excel can’t detect the language of the text you chose or detects it incorrectly, you can override it. Easily find worksheets that have been shared with you It’s easy to forget which worksheets others have shared with you. In Excel for Microsoft 365 there’s an easy way to find them: Select File > Open > Shared with Me to see a list of them all. Note that this only works with OneDrive (both Personal and Business) and SharePoint Online. You’ll also need to be signed into you Microsoft or work or school account. Predict the future with Forecast Sheet Using the Forecast Sheet function, you can generate forecasts built on historical data. If, for example, you have a worksheet showing past book sales by date, Forecast Sheet can predict future sales based on past ones. To use the feature, you must be working in a worksheet that has time-based historical data. Put your cursor in one of the data cells, go to the Data tab on the Ribbon and select Forecast Sheet from the Forecast group toward the right. On the screen that appears, you can select various options such as whether to create a line or bar chart and what date the forecast should end. Click the Create button, and a new worksheet will appear showing your historical and predicted data and the forecast chart. (Your original worksheet will be unchanged.) The Forecast Sheet feature can predict future results based on historical data. Preston Gralla / Foundry Manage data for analysis with Get & Transform This feature is not entirely new to Excel. Formerly known as Power Query, it was made available as a free add-in to Excel 2013 and worked only with the PowerPivot features in Excel Professional Plus. Microsoft’s Power BI business intelligence software offers similar functionality. Now called Get & Transform, it’s a business intelligence tool that lets you pull in, combine, and shape data from wide variety of local and cloud sources. These include Excel workbooks, CSV files, SQL Server and other databases, Azure, Active Directory, and many others. You can also use data from public sources including Wikipedia. Get & Transform helps you pull in and shape data from a wide variety of sources. Preston Gralla / Foundry You’ll find the Get & Transform tools together in a group on the Data tab in the Ribbon. For more about using these tools, see Microsoft’s “Getting Started with Get & Transform in Excel.” Make a 3D map Before Excel 2016, Power Map was a popular free 3D geospatial visualization add-in for Excel. Now it’s free, built into Excel for Microsoft 365, and has been renamed 3D Maps. With it, you can plot geographic and other information on a 3D globe or map. You’ll need to first have data suitable for mapping, and then prepare that data for 3D Maps. Those steps are beyond the scope of this article, but here’s advice from Microsoft about how to get and prepare data for 3D Maps. Once you have properly prepared data, open the spreadsheet and select Insert > 3D Map > Open 3D Maps. Then click Enable from the box that appears. That turns on the 3D Maps feature. For details on how to work with your data and customize your map, head to the Microsoft tutorial “Get started with 3D Maps.” If you don’t have data for mapping but just want to see firsthand what a 3D map is like, you can download sample data created by Microsoft. The screenshot shown here is from Microsoft’s Dallas Utilities Seasonal Electricity Consumption Simulation demo. When you’ve downloaded the workbook, open it up, select Insert > 3D Map > Open 3D Maps and click the map to launch it. With 3D Maps you can plot geospatial data in an interactive 3D map. Preston Gralla / Foundry Automate tasks If you have OneDrive for Business and use Excel with a commercial or educational Microsoft 365 license, you can automate tasks with the Automate tab. You’ll be able to create and edit scripts with the Code Editor, run automated tasks with a button click, and share the script with co-workers. See Microsoft’s “Office Scripts in Excel” documentation for details. Insert data from a picture into Excel There are times you may find data inside an image file that you’d like to get into Excel. Typically, you’ll have to input the data from it manually. There’s now a way to have Excel convert the information on the image into data for a worksheet. In the Get & Transform Data group on the Data tab, click the From Picture dropdown and select Picture From File to choose the image you want to grab data from, or Picture from Clipboard to take a screenshot of an image on your PC and then import the data. For more details, see Microsoft’s “Insert data from picture” support page.   Use keyboard shortcuts Here’s one last productivity tip: If you memorize a handful of keyboard shortcuts for common tasks in Excel, you can save a great deal of time over hunting for the right command to click on. See “Handy Excel keyboard shortcuts for Windows and Mac” for our favorites. This article was originally published in August 2019 and most recently updated in May 2025. More Excel tutorials: Excel basics: Get started with tables Excel basics: Get started with charts and sparklines How to use PivotTables and PivotCharts in Excel How to use slicers in Excel How to use Excel formulas and functions How (and why) to use conditional formatting in Excel How to use Excel macros to save time and automate your work

Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. Earth and space mingle in stunning ways for the 2025 Milky Way Photographer of the Year contest. From the “geological masterpiece” of Coyote Buttes, Utah to the sandstone terrain of desolate Ennedi, Chad to a lava-spewing volcano in Guatemala, this year’s entries dazzle from all corners of the globe. We even get a view of the Milky Way from off-planet with a photograph from NASA astronaut Don Pettit taken aboard the International Space Station. “The Wave”Coyote Buttes, UT, USAOne of my greatest passions is visiting stunning natural wonders and paying my personal tribute to them through night photography. This image was taken at Coyote Buttes, a geological masterpiece located in Arizona, where special access permits are required to protect it for future generations.Despite the intense cold during those days, it was incredibly exciting to visit the great sandstone wave for the first time and enjoy its spectacular shapes and colors.To capture this 360° panorama, I planned for the Milky Way and focused on creating a balanced photographic composition. It’s hard to put into words the beauty of this place, but I hope my photograph manages to convey it.Credit: Luis Cajete / 2025 Milky Way Photographer of the Year Daniel Zafra Portill The Milky Way contains an estimated 200-400 billion stars, but we can only see a fraction of the celestial bodies with our naked eyes. Photography opens up the skies to the staggering light show floating around us. (Click to enlarge images.) “Echiwile Arch” Ennedi, ChadWhen one first Googles information about visiting Chad, the results aren’t very encouraging from a safety perspective. Nevertheless, the intrepid astrophotographer in me decided to take the chance and visit this landlocked country, specifically the Ennedi Massif in the north.Sparsely populated and completely devoid of light pollution, the three-day drive from the capital, N’Djamena, was well worth the troubles and risks involved. The region is filled with numerous rock formations, shapes, and arches, offering an abundance of options for foreground elements to frame the dramatic night skies. Seen here is a small arch in the shape of a hoof in the Ennedi region.Credit: Vikas Chander / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Fortress of Light”Jujuy, ArgentinaSince I started shooting the night sky, I’ve always sought out landscapes that feel like they belong to another planet — remote, untouched, and far from light pollution. That’s exactly what I found in “The Cathedral,” a surreal rock formation in Jujuy, Argentina.Photographing at over 4,000 meters (13,000 feet) presented its challenges, but when I arrived and saw the rock formations, I was completely blown away. The landscape felt like something from a fantasy world, and the towering cliffs instantly reminded me of a giant stone fortress sculpted by nature.As twilight gave way to full darkness, the core of the Milky Way appeared high overhead, shining with incredible clarity. I patiently waited as the galactic center slowly descended toward the horizon, perfectly aligning above the cliffs.While capturing the panorama, the camera picked up bands of orange and green airglow, adding a unique glow to the horizon.This image captures everything I love about photographing the Milky Way — the silence of remote places, the peace of standing under a pristine sky, and the deep connection I feel to the moment, fully present and grateful to witness it.Credit: Mauricio Salazar / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “The Night Guardians” Easter Island, ChileEaster Island had been on my bucket list for a long time, and it once seemed almost impossible to reach. On our first night there, the weather forecast looked promising, so we decided to go ahead with the tour our group had booked 4–5 months earlier. However, Rapa Nui sits in the middle of the Pacific Ocean, where the weather is notoriously unpredictable. When we woke up at 3 a.m. in our hotel, the sky was completely covered in clouds. Still, we decided to take the risk, knowing the forecast for the next few nights was even worse.An hour later, we were frantically photographing the statues at Rano Raraku—the quarry where nearly all of the island’s 900 statues were carved—when the sky suddenly began to clear. By 5 a.m., it was completely clear, and we had less than two hours to capture all the shots we wanted. We felt incredibly lucky to be in the right place at the right time.Credit: Rositsa Dimitrova / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Blossom”Hehuan Mountain Dark Sky Park, TaiwanAfter three years of waiting, the Yushan alpine rhododendrons are finally in bloom once again on Taiwan’s 3,000-meter-high Hehuan Mountain. On this special night, distant clouds helped block city light pollution, revealing an exceptionally clear view of the Milky Way. A solar flare from active region AR3664 reached Earth that evening, intensifying the airglow and adding an otherworldly touch to the sky.Together, these rare natural events created a breathtaking scene—vivid blooms glowing softly beneath a star-filled sky.Credit: Ethan Su / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Spines and Starlight”Kanaan, NamibiaOn our second Namibia Photography Tour, we began our journey once again at one of our favorite spots in Kanaan. Last year was an incredible experience, but this time, we decided to explore more of this vast land.During a scouting trip, I stumbled upon the perfect composition—two quiver trees standing tall with a large cactus in the foreground, all beautifully aligned with the Milky Way. I had always wanted to capture the Milky Way alongside a big cactus, so in that moment, it felt like a special gift.Getting everything in focus was a bit challenging, as I had to get extremely close to the cactus without getting poked. To achieve perfect sharpness, I used focus stacking. Additionally, I shot with an astro-modified camera and a GNB Nebula filter to enhance the details of the night sky.Credit: Burak Esenbey / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Galaxy of the Stone Array” Moeraki Boulders, New ZealandThe Milky Way hangs over the sea. The night sky of the Southern Hemisphere condenses the poetry of Li Bai, a poet from China’s Tang Dynasty, into eternity. On a clear night, the Milky Way pours down over the sea like a waterfall from the sky, intertwining with the atmospheric glow on the water’s surface.Credit: Alvin Wu / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “One in a Billion ”ISS (International Space Station)I float in the Cupola, looking out the seven windows composing this faceted transparent jewel. While my mind is submerged in contemplation, my eyes gorge on the dim reflections from a nighttime Earth. There are over eight billion people that call this planet home. There are seven of us that can say the same for Space Station. What a privilege it is to be here. I used an orbital star tracker to take out the star streak motion from orbit.Credit: Don Pettit / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Winter Fairy Tale”Dobratsch Nature Park, AustriaUndoubtedly my wildest location this winter: Austria’s Dobratsch mountain! If I had to describe it in two words, it would be a “Winter Fairytale”!Despite a 5 a.m. work shift, I drove to Austria by 1 p.m., worried about my fitness and lack of sleep. After a 2-hour hike through the snow with a 22kg backpack and sled, the stunning views kept me energized.Arriving at the cabin (where I had planned my winter panorama two years ago), I was greeted by untouched snow, completely free of footprints. I spent the evening exploring compositions, and this is my favorite: a panorama of the winter Milky Way with reddish nebulae, stretching above Dobratsch Mountain.I captured the Zodiacal light and even the Gegenschein glow! The sky was magnificent, with Jupiter and Mars shining brightly. In the foreground is the cabin, where I spent 3 freezing hours (-12°C), waiting for the perfect shot of the Milky Way’s core. It turned out exactly as I envisioned—a true winter fairytale.Credit: Uroš Fink / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Valle de los Cactus” San Pedro de Atacama, ChileA panoramic shot of the Milky Way in a remote area of the Atacama Cactus Valley, known for its large concentration of cactus plants. I love this place with its countless possibilities. The panorama was taken just as the galactic center began to rise, with the spectacular Gum Nebula visible on the right.It was an especially bright night with a breathtaking sky. The valley isn’t easy to navigate, but it’s always worth trying to find new compositions in such stunning locations beneath the night sky.Credit: Pablo Ruiz / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Cosmic Fire”Volcán Acatenango, GuatemalaOn the early morning of June 2, 2024, I summited Acatenango Volcano for the first time, hoping to witness the fiery beauty of the neighboring Volcan de Fuego against the Milky Way’s backdrop. That night, the volcano was incredibly active—each thunderous explosion reverberated in my chest, while glowing lava illuminated the dark slopes. Above, the Milky Way stretched diagonally across the sky, a mesmerizing band of stars contrasting with the chaos below. As the volcano erupted, the ash plume rose vertically, forming an acute angle of about 45 degrees with the galaxy’s diagonal path, creating a stunning visual contrast between Earth’s fury and the cosmos’ serenity.Capturing this required a fast, wide-angle lens (f/2.8), an ISO of 3200, and a 10-second exposure to balance the volcanic glow with the starlight. The challenge was timing the shot during a new moon and aligning the right moment for the Milky Way to cross the frame next to the volcano. I used Lightroom as the editor. This image is special for its storytelling—the raw power of Volcan de Fuego meeting the tranquil expanse of the galaxy.Credit: Sergio Montúfar / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Lake RT5” Zanskar, HimalayasLake RT5 is a pristine alpine lake nestled at 5,700 meters above sea level. My passion has always been to capture the unseen Himalayas in their rawest form. This journey led us through rugged mountains and glaciers, where we discovered several unknown alpine lakes and named them along the way.We endured multiple nights in extremely cold, unpredictable conditions. Due to the ever-changing weather and limited time, I used a blue hour blend to achieve a cleaner foreground. Since my campsite was right beside the lake, I was able to capture the tracked sky shot from the exact same position later that night.I was in awe of the incredible airglow illuminating the Himalayan skies. The raw image had even more intense colors, but I toned them down to stay true to reality. This was undoubtedly one of the most unforgettable nights I’ve ever spent in the heart of the Himalayas.Credit: Tanay Das / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “A Stellar View From The Cave” Saint Raphael, FranceFramed by the rugged mouth of a coastal cave, this image captures the heart of the Milky Way rising over the Mediterranean Sea. Taken during the peak of the Galactic Core season last May, it blends the natural beauty of the foreground with the awe-inspiring vastness of the cosmos. A winding road, illuminated by passing cars, creates a dynamic trail of light that guides the eye toward the stars above.This photo is a reminder that magic often hides in the most unexpected places. All it takes is a little patience, planning, and passion.Credit: Anthony Lopez / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Boot Arch Perseids” Alabama Hills, CA, USAThe Perseid Meteor Shower occurs every August, raining down hundreds of meteors over a few nights. In 2024, I had planned to photograph it from the Canadian Rockies, but wildfires forced me to change my plans at the last minute. After checking wildfire maps, I found a safe haven in the Eastern Sierra Nevada.After three full nights of capturing meteors, I created this image. Sitting on the rock is my friend Arne, who often joins me on these adventures, gazing up at the magnificent core of our galaxy. Each meteor is painstakingly aligned to its true location in the night sky. The final depiction shows all the meteors I captured, combined into one frame—as if the Earth hadn’t been rotating and all the meteors had fallen at once.Credit: Mike Abramyan / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Starlit Ocean: A Comet, the setting Venus, the Milky Way, and McWay Falls” – California, USACapturing this image was a race against time, light, and distance. With Comet Tsuchinshan–ATLAS (C/2023 A3) making its approach, I knew I had a rare opportunity to see it with the naked eye before it faded into the cosmos. I embarked on a five-hour round trip to McWay Falls in Big Sur, one of the few Bortle 2 locations accessible along California’s coast. My window was narrow—just six precious minutes of true darkness before the Moon rose and washed out the night sky. But those six minutes were unforgettable.In that brief span, the Milky Way arched high above the Pacific, Venus shimmered as it set over the ocean, and the comet streaked quietly across the sky—a celestial visitor gracing this iconic coastal cove. The soft cascade of McWay Falls and the stillness of the starlit ocean created a surreal harmony between Earth and sky. It was one of the most vivid and humbling naked-eye comet sightings I’ve ever experienced—an alignment of cosmic elements that felt both fleeting and eternal.Credit: Xingyang Cai / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Diamond Beach Emerald Sky”Great Ocean Road, AustraliaWith a clear night forecast and the Milky Way core returning for 2025, I set out to explore the Great Ocean Road. After a few setbacks—such as a failed composition and getting the car stuck on a sandy track—I almost gave up. However, I pushed on and found a great spot above the beach to capture the scene.The night was full of color, with Comet C/2024 G3 Atlas and a pink aurora in the early hours, followed by the Milky Way rising amid intense green airglow near dawn. Despite the challenges, the reward of this stunning image and the memory of the view made it all worthwhile.Credit: Brent Martin / 2025 Milky Way Photographer of the Year Daniel Zafra Portill

The Victorian era brought us many things—floral motifs, linen trimmed in lace, and some of the best ruffled bedding history has ever witnessed. Two centuries later, frills and flounces are back in style on the heels of the cottagecore bedding scene, allowing your bedscape to embrace its softer side.The beauty of frills lies in its delicate silhouette that pairs equally well with gingham bedding as it does with florals or simple solid colors. In fact, an all-white ruffled bedding set or a frilly decorative pillow is all you need to lighten the mood in a room. Extra pomp doesn’t have to skew antiquated, either, as several modern variations from upscale brands like Sferra and Annie Selke illustrate. Below, some of the finest ruffled bedding around the web for creating the frothy bedscape of your daydreams.Our Top Picks for the Best Ruffled BeddingBest Ruffled Duvet: Lulu and Georgia Charlie Linen Duvet by Pom Pom at Home, $701, $561Best Ruffled Bed Sheets: West Elm European Flax Linen Ruffle Sheet Set, $279Best Ruffled Bedroom Decor: Lulu and Georgia Westmont Platform Bed, $1,798 $1,438Best Ruffled Quilt Set: Serena & Lily Nantucket Stripe Linen Quilt,$478 $358Best Ruffle Duvet Cover: GreenRow Linen Ruffle Crochet Duvet Cover, $319Pom Pom at Home Charlie Linen DuvetThe Lulu and Georgia Charlie duvet cover is 100% linen with a shell-button closure that wraps up your comforter in a layer of light, frothy goodness. A four-inch ruffle adds inconspicuous detail to an otherwise, uh, no-frills design. While it only comes in flax and white colorways, muted simplicity is actually the goal here.West Elm European Flax Linen Ruffle Sheet SetEmploying the teeniest of ruffles, this West Elm sheet set features just a hint of twee detailing, almost like a playful coquette. The bedding is all-linen, lending it an even softer, lived-in feel. The brick colorway is especially dreamy, a mix of terracotta and mocha that feels both moody and soothing at the same time.Lulu and Georgia Westmont Platform BedIt doesn’t get much more charming than this ruffled Lulu and Georgia Westmont platform bed with the lushest of velveteen frills. The gingham print seen here screams “cottagecore” for a B&B in the woods feel. It even comes with a matching headboard that continues the storybook style above your head as you snooze.Serena & Lily Nantucket Stripe Linen QuiltSeersucker is officially in season, whether you’re heading to the Nantucket coast or not this year. You can certainly embody the same coastal vibe anywhere around the country with one of Serena & Lily’s quintessentially beachy linens, like this quilt with a four-inch ruffle flange that calls to mind sea air, hydrangea bushes, and lively tennis matches. It’s made in Portugal, and the linen itself is woven from premium flax sourced from Belgium and France. The diamond pattern lends the quilt some structure and you can even make it an entire set with matching shams and sheets.GreenRow Linen Ruffle Crochet Duvet CoverIf you’re leaning into period piece vibes in your bedroom, start with this romantic GreenRow duvet cover that’s both Oeko-Tex– and Fair Trade–certified. The European flax bedding comes embellished with a crocheted seam just above the ruffled edge and looks like it was plucked right out of a Victorian trousseau. In an all-white set, it reads as clean and unfettered. Other colorways such as dusty rose, pale blue, and marigold yellow embody the same vintage style but with more saturation involved.Other Ruffled Bedding We LikeUrban Outfitters Cleo Ruffle Skirt Rohini Daybed CushionTransform a regular bench into a dreamy daybed seat with an Urban Outfitters ruffle skirt cushion. It comes in olive green and striped cream colorways—both highly adaptable to any bedroom decor. The top is tufted, and the slightly pleated skirt gives it just enough charm without treading into childish territory.Sferra Giotto Bed SkirtLeave it up to Sferra to render the traditional ruffled bedskirt in a rich, luxurious way. In the Giotto bed skirt, folds don’t just ripple so much as elegantly undulate, glistening with the kind of delicate sheen that only sateen and silk can accomplish. Consider it for the kind of evergreen upgrade that will subtly transform your bedroom for years and years to come.Biselina Linen Ruffled Duvet Cover SetFor those looking for extra color choices—rust, purple, and green—consider Biselina’s ruffle duvet cover and shams. Unlike other more flouncy options, the ruffle detail here is shrunken down for some elegant, but not over-the-top character. The Oeko-Tex certified linen set includes shams, all for less than $150.Piglet In Bed Gingham Linen Bed SkirtFor all things gingham and linen, make a pit stop at Piglet in Bed, which specializes in both. Their gingham bed skirt features a 15-inch drop and lightly drapes to cover up dust bunnies and other unmentionables you’ve stuffed under the bed. In a breathable cotton blend made of 55% European linen, the splashy dust ruffle has an overall youthful, laid-back effect.Peri Home Rene Ruffle Duvet Cover and Shams SetIf you’re piling on the charm, top off those ruffles with some scalloped trim. Peri Home’s Rene bedding set tows the line between cottagecore and antique aesthetics with this quilted texture that feels like an heirloom passed down from a wiser relative. Pair it with similarly palate-cleansing pastels or employ some pattern clashing with stripes and prints for a more artful bedscape.Taylor Linens Farmhouse Stripe Bed SkirtTight pinstripes give your bedding a more buttoned-up feel, like you’ve dressed your bed in office-friendly attire, especially when they appear on a bedskirt like this one from Taylor Linens. The subtle pleat pattern gives the ruffle a refined character that pairs exceptionally well with quilts and starchy white duvet covers.Maeve Cotton Striped Ruffle Printed Duvet CoverCandy stripers are a relic of the past, but the same retro red-and-white wardrobe has a different appeal when seen in a bedding setting. This Maeve organic cotton piece looks like something Dorothy Draper would select, and comes in a wide range of sizing (from twin to California King beds) so everyone can add this bold bedding to their cart.Annie Selke Wilton BedspreadOf all the bedding on this list, this gathered bedspread has the longest drop (30 inches!) for a flowing waterfall effect. The cotton-blend fabric, a hybrid that contains some linen for added breathability and texture, has just the right weight to feel structured but relaxed.Lush Decor Garden of Flowers Ruffle Sheet SetLush Decor specializes in the kind of posies you’re likely to find in a spring garden: Take this sheet set that would feel right at home in a nursery or romantic guest bedroom. The four-inch ruffled edge supersizes the romantic detailing, but won’t interfere with dressing your bed.GreenRow Lillian Velvet Ruffle Standard ShamAnd if you want to leave the ruffles to your bedding accents, GreenRow makes just the sort of velvet ruffle shams to round out your search. The heavy plush poly-velvet cover is finished off with a lightweight Tencel ruffle that drapes beautifully, like butterflies aflutter on your bed.

We may earn a commission from links on this page.Garmin has launched a new feature in its Connect app (the companion app you use when you sync your watch to your phone). It’s called Garmin Trails, and it purports to help you find hiking trails near you. With a Connect+ subscription, you can even sync courses for those trails to your map-enabled watch. It sounds pretty great. Unfortunately, its selection of trails is pretty disappointing at launch—it doesn't even suggest I try out my own favorite trails.How to access Garmin TrailsYou don’t need a Connect+ subscription to search for trails, filter for features, and look at the routes and reviews of trail—all of that comes free with the regular Connect app, whether on your phone or through the Connect Web interface. If you have a Garmin device, you already have a login for these services. To find it Garmin Trails from within Connect, tap the More menu in the app, find and tap Training and Planning, and then scroll to Garmin Trails. You'll be given a map of suggested trails. Zoom the map and tap on the little hiker icons to see each individual trail, or search by name in the search bar above. Unfortunately, the search results aren’t sorted in any logical way, such as by distance. If I search for the name of a trail near me in Pennsylvania, I see results from Maine and Maryland before the Pennsylvania ones.There’s also a filter icon, which you can use to limit your results by distance from your current location, the amount of ascent in the trail, as well as rating, difficulty, trail type, and features. The features you can filter for include: Dog friendlyNo dogsWaterfallsLakesRiversOceansMountaineeringSteep sectionsForestFlowersKid friendlyPermit requiredWater sourcesReaches peaksRough roadOnly the U.S. and a few European countries are supported right nowAt launch, trails are only available in the U.S. and in four European countries: Austria, Germany, Lichtenstein, and Switzerland. “New trails in different regions will be added periodically,” says a Garmin support page.Garmin’s original announcement didn’t mention this restriction, so much of the chatter I'm seeing about this online involves disappointment from users outside this handful of countries. This writer in the U.K., for example, calls the feature “NoTrails” (referencing competitor AllTrails, get it?) In the U.S., I’m definitely seeing some trails, but not enough to make the feature particularly useful. I’m just not seeing a lot of trailsI like to run and hike on trails, and I live near a county park that is absolutely riddled with hikeable, runnable, and mountain bike-able trails. There’s a local trail running group that meets six times a week, seemingly always at a different spot (I’m sure they repeat their favorites, but there is plenty of variety on offer). So what does Garmin Trails have in its database for my area? Here’s Garmin on the left, and the county trails website on the right:  Garmin, left; Allegheny County website, right. Credit: Beth Skwarecki/Garmin/Allegheny County Kudos to Garmin for knowing about the Rachel Carson trail, that long one that appears as a black line. It’s 46 miles long and quite well-known in the area. Garmin has it listed as a series of short segments. They are correctly labeled as “hard” difficulty. But the entire North Park area has two trails? I’m not even sure how a person would find out about the Orange and Green trails without learning about all the others in the park. Where is the Red trail, with its red-and-blue branch with all the switchbacks? Where is the flat half-mile trail by the nature center that I always took my kids on when they were little? Where is the White trail that circles the baseball fields? As for those Orange and Green trails, both are labeled with their correct distance, but they’re also both marked as “easy,” which they are definitely not. I did a trail run last week that included the whole Orange trail and part of the Green. It was about five miles and had 800 feet of elevation gain. That’s not an easy trail at all. I asked a Garmin rep where the trail data comes from, and was told Garmin used, “a variety of sources and our in-house cartography team.” As far as I can tell, they aren’t copied from AllTrails or any other source, or at least not directly. (Might be better if they were; AllTrails has the Green trail more reasonably labeled as moderate rather than easy.)Browsing through other areas I’m familiar with, it seems that the most iconic trails in any spot are in the database, so this tool isn’t useless, just incomplete (hopefully temporarily). A few of the gorge trails I remember most fondly from Ithaca, NY are in there. Yellowstone National Park has plenty of labeled trails. I asked fellow Lifehacker writer Daniel Oropeza to look for trails in areas he was familiar with, and he compared the Three Sisters Waterfall area in Garmin and AllTrails. Garmin has one trail to the waterfall, while there are actually four; the wider area has 19 trails in the Garmin database, but 143 in AllTrails.  Garmin, left; AllTrails, right. Credit: Beth Skwarecki/Garmin, Daniel Oropeza/AllTrails It’s free to browse trails, but you must pay to send them to your watchGarmin Trails seems to be a pot-sweetener for the new Connect+ subscription tier. The Trails feature itself is free, but only subscribers to Connect+ (or Maps+, another Garmin offering) can send trail courses from this database to their devices. Compatible devices include anything that supports courses, like most recent Fenix, Forerunner, and Instinct watches (and Edge cycling computers). A watch that supports maps, like the new Forerunner 970, would be a natural pairing with this new feature.Trails also seems to be a slightly different version of the Courses feature that Garmin has had for a while. (You can find Courses at this link, if you have a Garmin login). Courses can be private or user-created; there’s currently no way for users to create a trail. That means there can be multiple versions of the same trail, and courses that don’t correspond to a specific trail—somebody who ran part of the Orange and part of the Green, let’s say, because that happened to be convenient for them on the day they created that course. If more trails get added to Garmin Trails, it could eventually be a useful feature. The trail ratings, comments, and filters are handy to have. But AllTrails already has those features, and you can load AllTrails routes to your Garmin watch if you subscribe to AllTrails Plus, which is $35.99/year—cheaper than Garmin Connect+, which will cost you $6.99/month or $69.99/year.

I think we, as engineers and designers, have a lot to gain by stepping outside of our worlds. That’s why in previous pieces I’ve been drawn towards architecture, newspapers, and the occasional polymath. Today, we stumble blindly into the world of philosophy. Bear with me. I think there’s something to it. In 1974, the American philosopher Robert M. Pirsig published a book called Zen and the Art of Motorcycle Maintenance. A flowing blend of autobiography, road trip diary, and philosophical musings, the book’s ‘chautauqua’ is an interplay between art, science, and self. Its outlook on life has stuck with me since I read it. The book often feels prescient, at times surreal to read given it’s now 50 years old. Pirsig’s reflections on arts vs. sciences, subjective vs. objective, and systems vs. people translate seamlessly to the digital age. There are lessons there that I think are useful when trying to navigate — and build — the web. Those lessons are what this piece is about. I feel obliged at this point to echo Pirsig and say that what follows should in no way be associated with the great body of factual information about Zen Buddhist practice. It’s not very factual in terms of web development, either. Buddha In The Machine Zen is written in stages. It sets a scene before making its central case. That backdrop is important, so I will mirror it here. The book opens with the start of a motorcycle road trip undertaken by Pirsig and his son. It’s a winding journey that takes them most of the way across the United States. Despite the trip being in part characterized as a flight from the machine, from the industrial ‘death force’, Pirsig takes great pains to emphasize that technology is not inherently bad or destructive. Treating it as such actually prevents us from finding ways in which machinery and nature can be harmonious. Granted, at its worst, the technological world does feel like a death force. In the book’s 1970s backdrop, it manifests as things like efficiency, profit, optimization, automation, growth — the kinds of words that, when we read them listed together, a part of our soul wants to curl up in the fetal position. In modern tech, those same forces apply. We might add things like engagement and tracking to them. Taken to the extreme, these forces contribute to the web feeling like a deeply inhuman place. Something cold, calculating, and relentless, yet without a fire in its belly. Impersonal, mechanical, inhuman. Faced with these forces, the impulse is often to recoil. To shut our laptops and wander into the woods. However, there is a big difference between clearing one’s head and burying it in the sand. Pirsig argues that “Flight from and hatred of technology is self-defeating.” To throw our hands up and step away from tech is to concede to the power of its more sinister forces. “The Buddha, the Godhead, resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha — which is to demean oneself.”— Robert M. Pirsig Before we can concern ourselves with questions about what we might do, we must try our best to marshal how we might be. We take our heads and hearts with us wherever we go. If we characterize ourselves as powerless pawns, then that is what we will be. Where design and development are concerned, that means residing in the technology without losing our sense of self — or power. Technology is only as good or evil, as useful or as futile, as the people shaping it. Be it the internet or artificial intelligence, to direct blame or ire at the technology itself is to absolve ourselves of the responsibility to use it better. It is better not to demean oneself, I think. So, with the Godhead in mind, to business. Classical And Romantic A core concern of Zen and the Art of Motorcycle Maintenance is the tension between the arts and sciences. The two worlds have a long, rich history of squabbling and dysfunction. There is often mutual distrust, suspicion, and even hostility. This, again, is self-defeating. Hatred of technology is a symptom of it. “A classical understanding sees the world primarily as the underlying form itself. A romantic understanding sees it primarily in terms of immediate appearance.”— Robert M. Pirsig If we were to characterize the two as bickering siblings, familiar adjectives might start to appear: Classical Romantic Dull Frivolous Awkward Irrational Ugly Erratic Mechanical Untrustworthy Cold Fleeting Anyone in the world of web design and development will have come up against these kinds of standoffs. Tensions arise between testing and intuition, best practices and innovation, structure and fluidity. Is design about following rules or breaking them? Treating such questions as binary is a fallacy. In doing so, we place ourselves in adversarial positions, whatever we consider ourselves to be. The best work comes from these worlds working together — from recognising they are bound. Steve Jobs was a famous advocate of this. “Technology alone is not enough — it’s technology married with liberal arts, married with the humanities, that yields us the result that makes our heart sing.”— Steve Jobs Whatever you may feel about Jobs himself, I think this sentiment is watertight. No one field holds all the keys. Leonardo da Vinci was a shining example of doing away with this needless siloing of worlds. He was a student of light, anatomy, art, architecture, everything and anything that interested him. And they complemented each other. Excellence is a question of harmony. Is a motorcycle a romantic or classical artifact? Is it a machine or a symbol? A series of parts or a whole? It’s all these things and more. To say otherwise does a disservice to the motorcycle and deprives us of its full beauty. Just by reframing the relationship in this way, the kinds of adjectives that come to mind naturally shift toward more harmonious territory. Classical Romantic Organized Vibrant Scaleable Evocative Reliable Playful Efficient Fun Replicable Expressive And, of course, when we try thinking this way, the distinction itself starts feeling fuzzier. There is so much that they share. Pirsig posits that the division between the subjective and objective is one of the great missteps of the Greeks, one that has been embraced wholeheartedly by the West in the millennia since. That doesn’t have to be the lens, though. Perhaps monism, not dualism, is the way. In a sense, technology marks the ultimate interplay between the arts and the sciences, the classical and the romantic. It is the human condition brought to you with ones and zeros. To separate those parts of it is to tear apart the thing itself. The same is true of the web. Is it romantic or classical? Art or science? Structured or anarchic? It is all those things and more. Engineering at its best is where all these apparent contradictions meet and become one. What is this place? Well, that brings us to a core concept of Pirsig’s book: Quality. Quality The central concern of Zen and the Art of Motorcycle Maintenance is the ‘Metaphysics of Quality’. Pirsig argues that ‘Quality’ is where subjective and objective experience meet. Quality is at the knife edge of experience. “Quality is the continuing stimulus which our environment puts upon us to create the world in which we live. All of it. Every last bit of it.”— Robert M. Pirsig Pirsig's writings overlap a lot with Taoism and Eastern philosophy, to the extent that he likens Quality to the Tao. Quality is similarly undefinable, with Pirsig himself making a point of not defining it. Like the Tao, Plato’s Form of the Good, or the ‘good taste’ to which GitHub cofounder Scott Chacon recently attributed the platform’s success, it simply is. Despite its nebulous nature, Quality is something we recognise when we see it. Any given problem or question has an infinite number of potential solutions, but we are drawn to the best ones as water flows toward the sea. When in a hostile environment, we withdraw from it, responding to a lack of Quality around us. We are drawn to Quality, to the point at which subjective and objective, romantic and classical, meet. There is no map, there isn’t a bullet point list of instructions for finding it, but we know it when we’re there. A Quality Web So, what does all this look like in a web context? How can we recognize and pursue Quality for its own sake and resist the forces that pull us away from it? There are a lot of ways in which the web is not what we’d call a Quality environment. When we use social media sites with algorithms designed around provocation rather than communication, when we’re assailed with ads to such an extent that content feels (and often is) secondary, and when AI-generated slop replaces artisanal craft, something feels off. We feel the absence of Quality. Here are a few habits that I think work in the service of more Quality on the web. Seek To Understand How Things Work I’m more guilty than anyone of diving into projects without taking time to step back and assess what I’m actually dealing with. As you can probably guess from the title, a decent amount of time in Zen and the Art of Motorcycle Maintenance is spent with the author as he tinkers with his motorcycle. Keeping it tuned up and in good repair makes it work better, of course, but the practice has deeper, more understated value, too. It lends itself to understanding. To maintain a motorcycle, one must have some idea of how it works. To take an engine apart and put it back together, one must know what each piece does and how it connects. For Pirsig, this process becomes almost meditative, offering perspective and clarity. The same is true of code. Rushing to the quick fix, be it due to deadlines or lethargy, will, at best, lead to a shoddy result and, in all likelihood, make things worse. “Black boxes” are as much a choice not to learn as they are something innately mysterious or unknowable. One of the reasons the web feels so ominous at times is that we don’t know how it works. Why am I being recommended this? Why are ads about ivory backscratchers following me everywhere? The inner workings of web tracking or AI models may not always be available, but just about any concept can be understood in principle. So, in concrete terms: Read the documentation, for the love of god.Sometimes we don’t understand how things work because the manual’s bad; more often, it’s because we haven’t looked at it. Follow pipelines from their start to their finish.How does data get from point A to point Z? What functions does it pass through, and how do they work? Do health work.Changing the oil in a motorcycle and bumping project dependencies amount to the same thing: a caring and long-term outlook. Shiny new gizmos are cool, but old ones that still run like a dream are beautiful. Always be studying.We are all works in progress, and clinging on to the way things were won’t make the brave new world go away. Be open to things you don’t know, and try not to treat those areas with suspicion. Bound up with this is nurturing a love for what might easily be mischaracterized as the ‘boring’ bits. Motorcycles are for road trips, and code powers products and services, but understanding how they work and tending to their inner workings will bring greater benefits in the long run. Reframe The Questions Much of the time, our work is understandably organized in terms of goals. OKRs, metrics, milestones, and the like help keep things organized and stuff happening. We shouldn’t get too hung up on them, though. Looking at the things we do in terms of Quality helps us reframe the process. The highest Quality solution isn’t always the same as the solution that performed best in A/B tests. The Dark Side of the Moon doesn’t exist because of focus groups. The test screenings for Se7en were dreadful. Reducing any given task to a single metric — or even a handful of metrics — hamstrings the entire process. Rory Sutherland suggests much the same thing in Are We Too Impatient to Be Intelligent? when he talks about looking at things as open-ended questions rather than reducing them to binary metrics to be optimized. Instead of fixating on making trains faster, wouldn’t it be more useful to ask, How do we improve their Quality? Challenge metrics. Good ones — which is to say, Quality ones — can handle the scrutiny. The bad ones deserve to crumble. Either way, you’re doing the world a service. With any given action you take on a website — from button design to database choices — ask yourself, Does this improve the Quality of what I’m working on? Not the bottom line. Not the conversion rate. Not egos. The Quality. Quality pulls us away from dark patterns and towards the delightful. The will to Quality is itself a paradigm shift. Aspiring to Quality removes a lot of noise from what is often a deafening environment. It may make things that once seemed big appear small. Seek To Wed Art With Science (And Whatever Else Fits The Bill) None of the above is to say that rules, best practices, conventions, and the like don’t have their place or are antithetical to Quality. They aren’t. To think otherwise is to slip into the kind of dualities Pirsig rails against in Zen. In a lot of ways, the main underlying theme in my What X Can Teach Us About Web Design pieces over the years has been how connected seemingly disparate worlds are. Yes, Vitruvius’s 1st-century tenets about architecture are useful to web design. Yes, newspapers can teach us much about grid systems and organising content. And yes, a piece of philosophical fiction from the 1970s holds many lessons about how to meet the challenges of artificial intelligence. Do not close your work off from atypical companions. Stuck on a highly technical problem? Perhaps a piece of children’s literature will help you to make the complicated simple. Designing a new homepage for your website? Look at some architecture. The best outcomes are harmonies of seemingly disparate worlds. Cling to nothing and throw nothing away. Make Time For Doing Nothing Here’s the rub. Just as Quality itself cannot be defined, the way to attain it is also not reducible to a neat bullet point list. Neither waterfall, agile or any other management framework holds the keys. If we are serious about putting Buddha in the machine, then we must allow ourselves time and space to not do things. Distancing ourselves from the myriad distractions of modern life puts us in states where the drift toward Quality is almost inevitable. In the absence of distracting forces, that’s where we head. Get away from the screen.We all have those moments where the solution to a problem appears as if out of nowhere. We may be on a walk or doing chores, then pop! Work on side projects.I’m not naive. I know some work environments are hostile to anything that doesn’t look like relentless delivery. Pet projects are ideal spaces for you to breathe. They’re yours, and you don’t have to justify them to anyone. As I go into more detail in “An Ode to Side Project Time,” there is immense good in non-doing, in letting the water clear. There is so much urgency, so much of the time. Stepping away from that is vital not just for well-being, but actually leads to better quality work too. From time to time, let go of your sense of urgency. Spirit Of Play Despite appearances, the web remains a deeply human experiment. The very best and very worst of our souls spill out into this place. It only makes sense, therefore, to think of the web — and how we shape it — in spiritual terms. We can’t leave those questions at the door. Zen and the Art of Motorcycle Maintenance has a lot to offer the modern web. It’s not a manifesto or a way of life, but it articulates an outlook on technology, art, and the self that many of us recognise on a deep, fundamental level. For anyone even vaguely intrigued by what’s been written here, I suggest reading the book. It’s much better than this article. Be inspired. So much of the web is beautiful. The highest-rated Awwwards profiles are just a fraction of the amazing things being made every day. Allow yourself to be delighted. Aspire to be delightful. Find things you care about and make them the highest form of themselves you can. And always do so in a spirit of play. We can carry those sentiments to the web. Do away with artificial divides between arts and science and bring out the best in both. Nurture a taste for Quality and let it guide the things you design and engineer. Allow yourself space for the water to clear in defiance of the myriad forces that would have you do otherwise. The Buddha, the Godhead, resides quite as comfortably in a social media feed or the inner machinations of cloud computing as at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha, which is to demean oneself. Other Resources Zen and the Art of Motorcycle Maintenance by Robert M. Pirsig The Beauty of Everyday Things by Soetsu Yanagi Tao Te Ching “The Creative Act” by Rick Rubin “Robert Pirsig & His Metaphysics of Quality” by Anthony McWatt “Dark Patterns in UX: How to Identify and Avoid Unethical Design Practices” by Daria Zaytseva Further Reading on Smashing Magazine “Three Approaches To Amplify Your Design Projects,” Olivia De Alba “AI’s Transformative Impact On Web Design: Supercharging Productivity Across The Industry,” Paul Boag “How A Bottom-Up Design Approach Enhances Site Accessibility,” Eleanor Hecks “How Accessibility Standards Can Empower Better Chart Visual Design,” Kent Eisenhuth