Decorative lighting has become one of the more satisfying corners of the maker movement. Most off-the-shelf lamp designs don’t bring much that’s genuinely distinctive into a space, and the ones that do tend to cost far more than the task deserves. That’s pushed a growing number of people toward building their own, using 3D printing and open-source lighting firmware to create objects that simply wouldn’t exist any other way.

The Cyber Loop Lamp is the kind of result that tends to stop people mid-scroll. It takes the shape of a vertical wheel, somewhere between a car’s rim and a navigation pin laid flat, and wraps that form in a layered lighting system that creates an infinity-like depth effect. The files are available for free on MakerWorld, and building one is a genuinely demanding project.

Designer: LightCore3D

At approximately 25cm tall, the lamp has enough presence to anchor a desk corner without overwhelming it. The design uses colored filament for the outer shell and clear filament for a transparent inner diffuser layer. That separation between the light source and the outer shell produces the glowing, almost holographic depth that makes the lamp look so unlike anything that came off a 3D printer.

The lighting system draws from nearly 300 individually addressable RGB LEDs, packed into a 2m WS2812B strip running at 144 LEDs per meter. Three distinct zones handle the display: a central funnel, the outer perimeter ring, and roughly a dozen inner spokes. Each zone runs its own color and effect independently, giving the lamp that layered, animated quality that holds attention in a way static ambient lighting usually doesn’t.

Control comes from an ESP32 board running WLED firmware, which lets you map each LED zone to its own effects group and cycle through custom presets. WLED is open-source and widely supported, with a large built-in animation library and enough room to create your own sequences on top. The entire system draws from a 5V, 6A power supply, relatively modest for something delivering this amount of visual output.

Getting there takes real commitment. The model spans 12 print plates with an estimated print time of roughly 35 hours, and that’s before assembly begins. Soldering is required, and components like resistors and capacitors join the LED strip and controller in the electronics stack. The creator is upfront that the assembly process isn’t fully documented, so some steps will require problem-solving on the fly rather than following a defined guide.

That friction is part of what makes the result feel earned. A lamp that takes 35 hours to print and several more to assemble isn’t something you’d put together casually, which means it carries weight as an object in the room beyond what any store-bought light could. It sits at a desk or shelf and reads as something deliberately built for exactly the space it occupies.

The Cyber Loop Lamp lands in that unusual territory between a functional accent light and something closer to a display piece, the kind of object that draws questions from people in a room before they figure out what it even is. The model is free on MakerWorld, and the full bill of materials is available directly from the project page for anyone ready to commit to the build.

The post This Free 3D Lamp Has 300 LEDs and Looks Nothing Like a Printed Object first appeared on Yanko Design.

Wireless chargers have largely been designed to disappear. Most of them are flat, black, or white, and perfectly content sitting out of sight somewhere near the outlet. A few have attempted to look more considered by borrowing from minimal Scandinavian design, though the result is often the same exercise in self-effacement. The idea that a charger could actually coordinate with the device it powers hasn’t really been taken seriously until recently.

Apple’s Cosmic Orange finish on the iPhone 17 Pro changed that dynamic a little. It’s a vivid, opinionated color that doesn’t blend into the background, and it created an obvious opportunity for accessory makers to follow. Nomad has done exactly that with a limited-edition Stellar Orange version of its Stand One 4th Gen, a 2-in-1 charging hub built to match the iPhone’s finish almost exactly.

Designer: Nomad

The Stand One itself has been around in more subdued forms, specifically silver and carbide, but the Stellar Orange version makes the charger a deliberate object on the desk rather than a neutral one. Set a Cosmic Orange iPhone 17 Pro on it, and the pairing reads as intentional, the kind of small visual detail that tends to catch people’s attention without demanding an explanation.

On the functional side, the Stand One 4th Gen charges via Qi2 at up to 25W, which puts it among the faster wireless options currently available for MagSafe-compatible iPhones. An upright MagSafe pad holds the iPhone at the right angle for StandBy mode, turning the desk setup into a live display for time, notifications, and widgets while the phone tops up. A rear Qi pad handles AirPods or any other wireless device at up to 5W.

The charger needs a 40W adapter to hit its peak output, which isn’t included at the $135 price point. That’s a familiar trade-off with premium chargers, and it keeps the base price competitive against similarly positioned alternatives without forcing the adapter cost on people who already own a capable brick. The metal and glass construction carries the build quality Nomad’s chargers are generally known for.

Nomad also launched a $39 Stellar Orange Tracking Card Pro alongside the Stand One, a Find My-compatible card designed to slip into a wallet and match the same orange palette. Together, they suggest an expanding ecosystem built around the Cosmic Orange iPhone 17 Pro, giving owners a way to carry that color decision through the accessories that live alongside the phone every day.

The Stellar Orange colorway doesn’t change what the Stand One does, and it’s fair to ask whether a $135 charger in a specific color justifies the kind of enthusiasm that device launches usually get. But for Cosmic Orange iPhone 17 Pro owners who want a desk setup that feels unified rather than assembled from whatever happened to be available, the Stand One in Stellar Orange makes a reasonable case for paying attention to the color of the cable management.

The post Nomad’s Limited $135 Charger Matches Apple’s Boldest iPhone Color first appeared on Yanko Design.

For years, one of the biggest tradeoffs in desktop 3D printing has been clear. You could chase larger builds, faster motion, or multi-color capability, but combining all three in a way that also supports smoother workflow has remained a tougher challenge. As more creators use 3D printers for batch production, prototyping, and short-run manufacturing, the machines drawing attention are the ones rethinking the print head itself.

LightMake is preparing to enter that conversation with the LightMake L4. Set for a Kickstarter debut, the machine centers on an independent 4-head architecture designed to deliver 4X productivity by printing four identical models simultaneously, while enabling seamless multi-color/material printing on a single object. All while its beltless linear motor system targets ±1μm closed-loop motion precision and 50,000-plus hours of stable operation (for the linear motors). Taken together, those details position the L4 as a highly ambitious new entry in the premium desktop 3D printing space.

Designer: LightMake

Click Here to Sign Up for Early Access

The L4’s most defining characteristic is its independent 4-head system, which allows four separate print heads to operate simultaneously within a single build volume. The four heads can print identical or mirrored models simultaneously, or all four can contribute materials or colors to a single complex print without the purge waste typical of single-nozzle multi-material systems. LightMake claims this architecture delivers a 4x efficiency increase when printing four identical single-color models at once, turning one machine into the functional equivalent of four printing machines. The system also supports mixing up to four materials in a single print, enabling multi-material assemblies that would otherwise require post-print bonding or fastening. For studios running repeat batches or prototyping multiple variants at once, that kind of parallel throughput changes the math around machine utilization and turnaround time.

The machine’s motion system abandons belts entirely in favor of linear motors, a shift that brings both precision and longevity benefits. Linear motors use electromagnetic force to drive motion directly, eliminating the wear, stretch, and maintenance associated with tensioned belts. LightMake reports that the L4 achieves ±1μm closed-loop precision, a figure that places it well into the territory of machines designed for repeatable, high-tolerance work. The contactless driving mechanism also contributes to the company’s claim of 50,000-plus hours of stable printing, a lifespan target that suggests the L4 is being designed with print farm durability in mind. Travel speed is rated at up to 1,000 mm per second, and the system’s rigidity comes from a one-piece die-cast metal frame paired with a vibration cancellation algorithm that mirrors toolhead movement to reduce print artifacts during high-speed operation.

Toolhead changing happens in one second, a spec that directly addresses one of the most time-consuming aspects of multi-material or multi-color printing. Conventional systems that feed multiple filaments through a single nozzle spend significant time purging old material, which slows down the job and generates waste. By swapping between independent heads almost instantly, the L4 cuts that delay to nearly nothing. LightMake is designed to significantly reduce operational costs and maximize efficiency for professional studios, achieved through its independent 4-head system and minimized material waste. The four toolheads are also described as independently liftable, with 5mm of height adjustment to improve first-layer adhesion success rates and reduce early-stage print failures.

The L4’s build volume measures 354 x 370 x 386mm for single-color prints and 354 x 350 x 386mm for multi-color work, placing it in the large-format desktop category. The machine includes dual HD cameras, a 6.5-inch touchscreen, and RFID material recognition. It supports PLA, ABS, PETG, TPU, ASA, PVA, PET, and carbon-fiber composites, with a maximum nozzle temperature of 320°C. Software features include fleet management tools that LightMake says can dispatch tasks to over 1,000 machines simultaneously, as well as an AutoQueue system that analyzes real-time printer status to allocate the right number of machines for each order deadline.

LightMake will debut the L4 on Kickstarter. With its combination of independent multi-head architecture, linear motor precision, and print farm automation features, the L4 represents a clear bet that the next wave of desktop 3D printing will be defined by batch manufacturing efficiency as much as by speed or build size alone.

Click Here to Sign Up for Early Access

The post Four Print Heads, One Machine, No Belts. The LightMake L4 is your Desktop 3D Printer on Steroids first appeared on Yanko Design.

Your keyboard connects to your computer via a 2.4GHz wireless dongle. This keycap designed to slot onto your keyboard was formed at the bottom of a Jurassic sea roughly 200 million years ago. Both of these facts are simultaneously true, and together they produce one of the more pleasingly absurd objects in recent design memory. These might be the only keycaps on Earth that existed before the dinosaurs did…

Keycap Quarry’s ammonite fossil keycaps are Carter Stay’s answer to the question nobody thought to ask: what happens when lapidary craft meets keyboard modding? Stay sources actual prehistoric ammonite specimens from England’s Jurassic Coast and the fossil-dense limestone beds of Somerset, then cuts, grinds, and polishes each one down to a functional keycap with a Cherry MX stem. The Marston Marble pieces carry clusters of tiny spiral fossils embedded in dark stone. The Charmouth calcite pieces are translucent enough that Stay hollows them from behind, letting the keyboard’s backlight pour straight through 200 million years of geological history.

Designer: Carter Stay (Keycap Quarry)

Quarried from Marston Magna in Somerset, Marston Marble is a fossiliferous limestone dense with Promicroceras marstonense ammonites from the Lower Jurassic, roughly 195 to 200 million years old. When polished, the dark grey matrix throws the cream and amber fossil spirals into sharp relief, producing a surface that looks simultaneously geological and deliberate, like a texture a product designer might spend weeks trying to simulate in resin and never quite nail. Each slab is unique because the distribution of fossils across the stone is entirely nature’s doing, meaning two Marston Marble keycaps will never look the same. The material is also becoming increasingly rare at the source, which gives these pieces a provenance weight that purely manufactured artisan caps simply cannot claim.

The Charmouth calcite ammonites come from the Black Ven Marls along the Jurassic Coast in Dorset, where mineral-rich water has replaced the original shell material with translucent calcite over geological time. Stay carves out the rear of each fossil to exploit that translucency, turning the keyboard’s own RGB into a light source that illuminates the internal chamber structure of a 200-million-year-old cephalopod. Under UV, the calcite glows with a cold blue-white that makes each keycap look less like a desk accessory and more like a biopsy slide from a natural history museum. It is the same optical trick that makes backlit calcite specimens prized in the collector market, now deployed on a 1U footprint between your F-row keys.

Dwarf Factory and the wider resin artisan world build narrative through sculpting and hand-painting, layering fiction onto a manufactured substrate. Stay works in the opposite direction, subtracting everything unnecessary from a material that already contains the narrative. No manufacturing process replicates what 200 million years of geological compression and mineralization produces, and no hand-painter can fake the variance in a Marston Marble slab or the internal chamber glow of a backlit calcite fossil.

Unlike most keycaps we’ve covered on this site, these Ammonite ones aren’t easy to replicate. They’re difficult to come across, and every single one looks different, so images don’t really reflect what newer stock will look like. Keycap Quarry’s been selling these (along with a bunch of other) keycaps on their website, and while the ammonite ones are sold out, they’re roughly in the $180 range per cap, making them fairly expensive but equally elusive and priceless.

The post These Actual Ammonite Fossil Keycaps Put 200 Million Years of Natural History on Your Keyboard first appeared on Yanko Design.

There is a specific kind of frustration that comes with building a carry kit piece by piece over months, selecting each object for a reason, and then clipping on an AirTag that looks like it came in a party favor bag. The titanium pen, the slim card wallet, the knife with the stonewashed blade that earns its spot every single day – and then that silicone loop. The coherence collapses, and we know it the moment it happens.

In 2026, the AirTag accessory market has split at a visible fault line. On one side: the standard silicone loop Apple sells for $29, the Spigen Rugged Armor case, and a range of injection-molded plastic clips that treat the tracker as a packaging problem rather than a design opportunity. On the other: a smaller group of manufacturers asking what kind of object an AirTag deserves to travel inside. That question is driving a genuine shift in carry culture right now, separating the kits assembled with intention from the ones that stopped one decision short.

After handling and carrying all three material variants across several weeks of daily use – commute conditions, trail carry, and air travel – the AirTag Carabiner is the most considered tracker carrier we have tested in this category.

Three Materials, Three Different Arguments

The AirTag Carabiner is made in Japan and individually hand-crafted. It comes in three materials: Duralumin composite alloy, untreated Brass, and Stainless Steel, and each variant makes a different argument for itself.

• The Duralumin at 0.59 ounces – roughly the weight of a standard coin – is for those who account for every gram in a cycling kit or trail pack. It is, practically speaking, weightless in use.
• The Brass at 1.7 ounces develops surface character over time that neither alternative will.
• The Stainless Steel at 2 ounces carries its weight as a tactile signal of permanence.

The Brass variant arrives with a warm matte surface that shifts toward a richer patina at contact points within the first few weeks of carry. The Stainless Steel reads as deliberately neutral – a finish that recedes into a bag’s existing hardware rather than competing with it. The Duralumin sits between them: a cool, slightly satin surface that holds its character rather than developing one. Each variant is visually distinct enough that the choice of material is also a choice about what the rest of the kit communicates.

Sized for Motion, Not the Display Case

At 3.1 inches by 1.6 inches, the carabiner is sized for function without excess. The 0.2-inch profile means it sits flat against a zipper pull or bag strap rather than protruding outward to snag on jacket fabric, handlebar bags, or adjacent gear in a pack. For cyclists on a commute or a weekend ride, that profile matters in motion.

For travelers moving through terminals with carry-on luggage, it is one fewer point of friction in a sequence of movements that accumulates quickly across a long travel day.

Why the Alloy Choice Actually Matters

The Duralumin alloy deserves specific attention because it is not a decorative material reference. It belongs to the same alloy class used in aircraft, spacecraft, and marine applications – a pairing of low mass and high tensile strength that explains why the carabiner weighs 0.59 ounces without sacrificing structural integrity.

Applied here, it produces a carrier suited for the conditions an active kit already operates in: salt air, rain, altitude, and the sustained mechanical stress of a clip opened and closed hundreds of times a year. This is not a material chosen for its name. It is a material chosen because its properties match the job.

What Hand Production Means at This Scale

Hand production in Japan means finishing tolerances are set by a maker, not a mold. Carrying the AirTag Carabiner’s Duralumin variant daily for three weeks made that difference concrete: the gate action is consistent across hundreds of openings, the edge quality where the alloy meets at its joins has no rough transition point, and the surface shows none of the micro-scoring that injection-molded carriers typically develop within the first month of use.

These are details that do not appear in a spec sheet and do not become visible in product photography. They register in the hand, and they compound over time. At six months of daily carry, an object built to a specification and one built to a price have separated completely.

Where It Delivers

For the weight-optimized active carry: At 0.59oz – roughly a coin’s worth of mass – the Duralumin variant adds nothing measurable to a cycling pack, trail kit, or camera bag. It is the only tracker carrier in this category that does not undo the weight discipline a considered kit has already established.

For outdoor and travel conditions: The alloy’s documented suitability for water and high-altitude environments means this carabiner performs alongside the gear it clips onto – from a salt-air coastal commute to a pressurized cabin – without corrosion or gate fatigue.

For carry coherence: The hand-finished construction and material quality place this carabiner alongside machined pens and precision wallets without asking the rest of the kit to lower its standard.

What to Factor In

The Apple AirTag is not included. At $119 starting for the AirTag Carabiner alone, the full system investment clears $150 once the tracker is added. That is the honest cost of entry and should be weighed against a kit where every other object has been selected at a comparable standard.

The weight spread across variants is significant: 0.59oz for Duralumin versus 2oz for Stainless Steel – a 3.4x difference across identical dimensions. Users attaching this to a keychain or wrist lanyard will feel that gap in daily carry and should choose their variant before ordering rather than after.

The standard for AirTag carry has been a $29 silicone loop. The AirTag Carabiner sets a different standard: machined-quality construction, aircraft-grade material, and hand finishing that holds up to daily inspection after a year of use. Whether that standard becomes the category norm depends on whether the rest of the market decides the AirTag deserves to be treated as a permanent part of the kit rather than a temporary addition to it.

The AirTag Carabiner is available now starting from $119 at Yanko Design.

The post The Ugliest Thing in Your EDC Kit is your AirTag. This Japanese Carabiner Finally Fixes That first appeared on Yanko Design.

Most mountain houses try too hard. Cut Out House, designed by New York-based studio Young Projects, does the opposite — it sits in the foothills of the Canadian Rocky Mountains, tucked into a low-density development where the land does most of the talking.

The project was conceived as a family vacation home, and it wears that intention openly. Rather than asserting itself against the landscape, the house responds to it — balancing intimate spaces oriented toward the dense surrounding woodland with communal areas that open dramatically toward the mountains. That duality is the architecture. Everything else follows from it.

Designer: Young Projects

The defining move is the butterfly roof, which Young Projects uses not just as a formal gesture but as a tool for orchestrating experience. The angled planes slope in opposite directions, directing views outward from within while reflecting the terrain’s gradient from outside. Where the roofline climbs, communal living spaces claim the panoramic views. Where tree density compresses the sightlines, private bedrooms pull back into quieter, more sheltered corners of the plan. The roof, in a sense, is the planner.

The “cut out” in the name refers to a series of subtractions carved from the building’s overall volume — openings and recesses that give the house its sculptural character without overworking it. This is a form shaped as much by removal as by addition. The result reads as something confidently simple, which is the harder thing to achieve. Most houses at altitude either defer too much to the landscape or compete with it. Cut Out House does neither.

Gray Accoya wood clads the exterior, a material choice that ages gracefully and lends the structure a tonal continuity with the rock and timber of the surrounding terrain. It doesn’t announce itself. From across a nearby body of water, the butterfly roofline is the first thing you read — a dynamic silhouette that shifts with the light and suggests movement even when the house is still.

Bryan Young founded Young Projects in New York in 2010, and the studio has built a reputation for work that thinks carefully about the relationship between built form and context. Cut Out House extends that sensibility into alpine territory, where the stakes of getting that relationship wrong are immediately visible in every window. The house doesn’t compete with the Rockies. It leans into them, shapes itself around them, and in doing so becomes something more interesting than a retreat — it becomes a calibrated act of looking.

The post Young Projects’ Cut Out House Proves Subtraction Is the Most Powerful Tool in Architecture first appeared on Yanko Design.

There are few symbols more familiar than the heart. It appears everywhere, from children’s drawings to luxury branding, which is perhaps why designers rarely touch it. The shape carries so much cultural baggage that it can quickly slip into sentimentality.

For its twentieth anniversary, Danish furniture brand Muuto decided to take that risk! Created with Copenhagen studio Spacon, the *Close to Heart* chair debuts during 3 Days of Design as part of Muuto’s anniversary programme, *Next Chapters in Scandinavian Design*. Limited to 150 pieces and produced in Denmark from extruded aluminium, the chair transforms the heart from a graphic symbol into a structural system. Every profile used to construct the chair is shaped like a heart.

Designer: Muuto and Spacon

The project began with a clear direction from Muuto, which was to avoid nostalgia. Rather than celebrating the past, the anniversary was framed as an opportunity to explore where Scandinavian design might go next. For Spacon partners Nikoline Dyrup Carlsen, Malene Hvidt, and Svend Jacob Pedersen, that conversation led unexpectedly to the heart.

What attracted the designers was not its symbolism alone, but its geometry. A heart combines two very different formal qualities within a single shape. One side is defined by a sharp triangular point, while the other is made up of generous curves. It is a shape that feels simple at first glance, yet becomes surprisingly intricate when examined closely.

That balance between softness and precision carries through the entire chair. From a distance, the heart references are obvious. Up close, they begin to disappear into the construction, becoming part of the chair’s proportions, joints, and structure rather than decorative details.

Material selection played an equally important role. Extruded aluminium is typically associated with engineering and manufacturing efficiency, making it an unusual choice for an object built around one of culture’s most emotionally loaded symbols. Yet the designers found that the material’s characteristics aligned naturally with the concept. Its light weight and ability to accommodate smooth curves allowed the heart profile to be repeated throughout the chair without becoming visually heavy.

The anodized finish further softens the material’s appearance. Instead of presenting aluminium as hard or industrial, the treatment gives the surface a subtle depth that reacts to changing light throughout the day. Reflections become muted, colors from the surrounding environment are absorbed into the surface, and the material takes on a quieter presence.

The chair sits within a broader collaboration between Muuto and Spacon centred on the relationship between technical systems and emotional experience. Muuto’s history is rooted in innovation and manufacturing development, while Spacon’s work frequently crosses between architecture, interiors, art, and craft. Close to Heart brings those interests together in a single object.

That intersection feels particularly relevant to how Scandinavian design is evolving today. The defining values remain familiar: experimentation, material honesty, and careful craftsmanship. What is changing is the willingness to embrace stronger narratives, cultural references, and emotional expression without treating them as separate from function.

The heart, surprisingly, proved to be a useful vehicle for that discussion. What could easily have become a novelty instead became a study in proportion, material, and manufacturing. The symbolism is impossible to ignore, yet the chair succeeds because it never relies on symbolism alone.

For Muuto and Spacon, the anniversary project is less about celebrating twenty years of design history than testing where design can go next. If Close to Heart is any indication, that future may involve a little more emotion, a little more playfulness, and a willingness to find sophistication in places designers have often overlooked.

The post Muuto’s Minimalist Chair Hides A Tiny Heart In Its Details first appeared on Yanko Design.

The Power Elf I from TESSAN starts its life looking like a modest bedside box. Then the magnetic wireless panel hinges upward, your iPhone snaps into place on the MagSafe pad, and the whole unit transforms into a proper charging station with a phone stand, two AC outlets, and three USB ports all sharing the same compact base. The hinge is the design’s central idea, a single mechanical move that changes the object’s identity entirely depending on how far you open it.

TESSAN designed the Power Elf I with two distinct use contexts in mind: the desk, where the upright position turns it into a functional workstation accessory, and the nightstand, where it folds flat and keeps every device topped up through the night without consuming half the surface. Both modes feel deliberate rather than incidental, which is the difference between a product that was designed and one that was just assembled.

Designer: Zhuhai Tessan Power Technology Co., Ltd.

Six devices charge simultaneously on the Power Elf I, a number that sounds ambitious until you look at the port layout and realize TESSAN actually planned for it. Two Type-B AC outlets handle anything that still demands a full plug. Two USB-C ports and one USB-A port cover the wired cable ecosystem. The wireless phone pad sits on the hinged module, and the detachable wireless watch charger extends outward on a side cradle, handling Apple Watch independently. Every slot has a designated device in mind, and none of them compete for the same surface area.

Stepless angle adjustment lets it tilt anywhere up to 65 degrees, which TESSAN identifies as the optimal hands-free viewing angle, and the system holds position without clicking between fixed stops. That kind of continuous adjustment is more expensive to engineer than a two-position hinge, and its presence here signals that the design team was thinking about actual use rather than spec-sheet bullet points. The watch charger is detachable and can operate independently once the main unit is powered, meaning it functions as a standalone puck when you need it away from the base.

The entire unit is built from V0-rated fire retardant engineering plastics, the highest flammability resistance classification for plastics used in electronic enclosures, with a metal spray coating applied over the surface for tactile and visual quality. At 130mm by 130mm by 40mm when folded flat, the footprint is genuinely compact for everything it contains. The slate and charcoal finish, visible across all four product images, reads as intentionally neutral, designed to disappear into a desk or nightstand setup rather than announce itself. The 65W fast charging output covers a laptop at full speed as the primary device, with intelligent power distribution across the remaining ports when the full ecosystem is connected simultaneously.

The post The Folding Charging Hub That Charges Your Phone, Watch, and Laptop Without Taking Over Your Desk first appeared on Yanko Design.

How often during a presentation have you felt your message deserved a more expressive way of reaching the audience? Logitech is addressing exactly that challenge with the new Spotlight 2 Presenter. Designed to be equally effective in hybrid and in-person environments, the presentation remote gives speakers multiple ways to direct attention and emphasize key points, helping transform slides from static visuals into more engaging experiences.

For years, Logitech’s Spotlight presenter has been one of the most recognizable tools for professionals who regularly stand before an audience. Rather than functioning as a simple slide clicker, it introduced digital highlighting and on-screen pointing features that helped presenters guide attention more effectively. With the new Spotlight 2 Presenter, the company is expanding that idea further by combining audience engagement tools with features designed to help presenters stay calm and confident while speaking. Alongside this advanced presenter, Logitech also launched the portable Mobil Fold to take on the Microsoft Arc mouse.

Designer: Logitech

At first glance, Spotlight 2 retains the familiar minimalist design language of its predecessor, but it introduces a force-sensitive interface with integrated haptic feedback. The tactile responses serve multiple purposes during presentations. Users receive subtle vibrations when interacting with digital highlighting tools, creating a more direct connection between the presenter and the content being displayed. Logitech has also incorporated guided breathing exercises that use haptic pulses to help speakers regulate their breathing before stepping on stage, addressing a common challenge faced by many public speakers.

The biggest enhancement comes from the expanded set of digital highlighting tools. Spotlight 2 allows presenters to direct attention using several visual effects, including Spotlight, Magnify, Squarelight, and Annotate modes. These tools make it easier to emphasize key details, zoom into specific content, or mark up information during a presentation. Alongside the digital effects, the presenter also includes a digital pointer and a Class 1 laser pointer, providing flexibility across different presentation environments. The system is designed to work equally well for in-person, virtual, and hybrid presentations where traditional laser pointers may not always be visible to remote participants.

Via the Logi Options+ software, users can assign shortcuts and frequently used actions to the presenter’s dedicated Action Button. Functions such as starting or pausing a presentation, muting audio, or triggering other custom commands can be configured to match individual workflows. This level of personalization helps presenters maintain focus without needing to return to their computer during a session.

Compatibility remains broad, ensuring Spotlight 2 can integrate into a variety of professional setups. It supports Microsoft PowerPoint, Google Slides, and Apple Keynote on both Windows and macOS environments. Connectivity options include Bluetooth and an included USB-C receiver, allowing users to switch easily between devices while maintaining a stable wireless connection. The presenter offers a wireless operating range of up to 30 meters, giving speakers freedom to move around the room while remaining in control of their content.

Battery performance has also been designed with busy schedules in mind. Logitech claims up to three months of use on a full charge, while a one-minute quick charge provides roughly three hours of presentation time. This rapid charging capability helps reduce the risk of being caught with a depleted device just before an important meeting or keynote.

Certain Spotlight 2 color variants use plastic components made with 43 percent post-consumer recycled materials, while the aluminium parts are produced using renewable energy sources. The Spotlight 2 Presenter priced at $129.99 will be available globally in Graphite and Sand finishes, with Light Lilac and Black offered in select markets only.

The post Logitech Spotlight 2 Presenter doubles as guided breathing coach to calm down nerves first appeared on Yanko Design.

As a newbie, how many times have you shunned the idea of owning a starter-level microphone just because of the complexities involved? Always wishing to have a simpler connecting protocol for ease of use. Razer wants to address this problem with the new Seiren V3 Pro microphone targeted towards streamers, creators, gamers, and anyone who wants a pro-level mic on the fly.

The microphone comes with support for USB-C, which simplifies things beyond comprehension for amateur content creators. Topping the cake is the XLR connectivity mode, which lets advanced users use the microphone with their existing equipment. Razer has demonstrated its eagerness to address the burning issues of the gaming and content creation communities, and this new release is no different.

Designer: Razer

Staying firmly in the XLR microphone space, even though it is targeted at amateur users, the microphone is ultra-utilitarian with its versatile hybrid connectivity options. The device aids users in beginning their content creation journey with a basic USB-C setup and then eventually upgrading to pro-level equipment like audio mixers and interfaces without any barriers. Another perk of the latest Razer offering is the $250 price, which can be otherwise be another major hurdle if even a respectable high-grade piece of equipment has to be acquired at the start of your creative journey. As per Razer’s global head of its lifestyle division, Addie Tan, “With the Seiren V3 Pro, we wanted to give creators a single mic that grows with them.”

V3 Pro solves a very basic problem with pro mics having the XLR analog connector, like their previous version – they have to run via an audio mixer or interface before being routed to a computer. For that very reason newbies, choose basic level USB-C mics for their arsenal. Razer gets the best of both worlds with this release, and there’s more to it. Another pressing reason to buy the Seiren V3 Pro is the built-in DSP, which works with both modes to deliver great output. This is important because high-quality microphones often require a lot of fine-tuning to get the desired results.

At the software level, the microphone has an AI noise remover and baked-in options that eliminate much of the tweaking needed. The device has a compressor, limiter and expander to make possible the smart tuning on the fly. At the hardware level, the mic has a pop filter and a built-in shock absorber for further clearing up the final output. The zinc unibody housing of the unit has a gain knob and mute button for ease of use. For the tech-savvy, this microphone has a 30mm dynamic range capsule and a cardioid polar pattern. The frequency range covered on this one is from 50Hz to 16kHz. The 32-bit float recording mode is also useful as it prevents clipping in audio, especially during high peak gains or sudden podcast reactions.

Content creators who look for minimalist gadgets without sacrificing functionality will love the small gain control at the bottom and the tap-to-mute sensor button, which comes in useful during live podcasts. The inclusion of a 3.5mm headphone jack lets the user hear the final output for performing any fine-tuning if required. To finish it off, the toned-down RGB lighting ring (compared to the predecessor) shows the real-time visual feedback about the gain, mute, and peak status. This can also be tweaked using the Razer Synapse app for complete control.

The post Razer Seiren V3 Pro is a studio grade plug-and-play microphone for newbies and pros first appeared on Yanko Design.