hkellick | Network

Posted by Sarang Sheth

https://www.yankodesign.com/2025/11/07/worlds-comfiest-mouse-looks-legitimately-ugly-but-it-somehow-works/?utm_source=rss&utm_medium=rss&utm_campaign=worlds-comfiest-mouse-looks-legitimately-ugly-but-it-somehow-works

https://www.yankodesign.com/?p=589034

I remember being in the third year of design college when I was introduced to this massive book titled “Indian Anthropometric Dimensions.” For the uninitiated, this book contained practically all the dimensions of the average (and non-average) Indian person, male and female, old and young. The purpose of such a book was to understand ergonomics numerically, rather than visually. And for designers, this meant adding the ultimate constraint to our wild designs… so humans could actually use them.

This YouTuber’s take on an ergonomic mouse is the antithesis of everything I was taught. The problem is, however, it works! See, designers have to balance this ergonomic approach with actual aesthetics. That’s why ergonomic mice actually look stylish, rather than being shaped exactly like the inverse of your hand. It’s why gun grips look the way they do; why bike seats, or car seats have an abstract-ness to them, and don’t actually have your individual buttocks molded into their designs. The world’s comfiest mouse works, but at a rather painful aesthetic cost!

Designer: Play Conveyor

Play Conveyor’s design process ignites a pretty strong debate between aesthetics and comfort. The Apple Magic Mouse, for example, is a prime example of the former completely ignoring the latter… and almost every mouse (even the ergonomic ones) aim at trying to achieve a balance between the two. Play Conveyor’s experiment swings the pendulum the absolute opposite way – what if a mouse was hideous as sin, but legitimately comfortable?

The process starts fairly simply. Play Context first ripped apart a wired mouse to see what the inner components looked like. He then 3D printed a plastic chassis on which he added play dough, filling in all the negative space created by his hand. This basically turned the mouse into a direct inversion of his hand, creating something that quite literally fit like a glove. After the play dough model was made, he scanned it, refined it, and printed it. What we see here is pure anthropometrics at work – no design, no aesthetic study, nothing.

What’s interesting is how accessible the whole process has become. A decade ago, this would’ve required industrial equipment, professional 3D scanners, and a hefty budget. Now it’s an iPhone, a 3D printer that costs less than a decent laptop, and some squishy molding compound. The democratization of manufacturing tools means anyone can now ask the question: what if products were designed for me, specifically me, and nobody else? It’s selfish design in the best possible way.

The first iteration (top left) was way too sharp, with jagged edges left behind either during the molding process or the scanning process. Play Context merely softened the edges down to create something that looks like, well, the Millennium Falcon covered in goo. Cutouts was added for left and right clicks, but soon ditched for actual hinged buttons, along with a central groove for the scroll wheel.

The final result is, well, a mouse that’s too ugly to be seen in the outdoors. It’s also a mouse that uniquely ONLY fits the ergonomic grip of one user. The justification for this can be two-fold: First, just accepting that there’s no way a company would be able to mass-produce this. People have different grips, different hand sizes, and even usage frequencies. That’s why companies like Logitech or Razer make mice the way they do, blending ergonomics with a healthy dose of aesthetics to have peripherals that actually look good while functioning flawlessly. The second justification, however, is for more edge-cases. Maybe a mouse designed for someone with Parkinsons, or with a genuine handicap or special need. We’ve seen special-needs gaming controllers from Sony for the PlayStation and Microsoft for the Xbox, but they’re mass-produced too. What if we could somehow build outer bodies of gadgets to suit our anthropometric needs? As Play Context demonstrates, the process is fairly easy, requiring only a 3D printer as a specialized equipment. All you need is a fair bit of free will, determination, and play dough!

The post World’s Comfiest Mouse looks legitimately ugly… but it somehow works first appeared on Yanko Design.

https://www.yankodesign.com/?p=589034

senmut

2011 - I don't remember much of this year. It's the last year at the Evol Empire, first year at the lab... so a lot of change.

Thor - Do I have issues with the myth breaking? Yes. But as a superhero movie goes, it was a fun romp. (Personal opinion, the Thor franchise is a bit weaker overall than some of the others).
Captain America: The First Avenger - I loved this one. It's the only one of the CA movies I unilaterally love.

Rise of the Planet of the Apes - OH HELL YEAH. Even having a bunch of actors that I don't usually care for in it could not kill my love of this! And yes, I did watch the originals, but still love this modern take on it.
War Horse - Still uncertain why I chose to watch this, but wound up enjoying the wandering tale greatly.

Green Lantern - On the list because, much as I love Hal, I despised this movie so much in the first 15 minutes I stopped watching it.
Transformers: Dark of the Moon - The novelization was better, and it spawned epic AUs from me and my co-writer at the time.

torachan

Recently Finished
The Roanoke Girls
I grabbed this on an Audible two for one sale because it sounded like it could be interesting but alas, it was not for me. As a teen, the MC went to live with her grandparents and cousin after her mother's suicide, having never had any contact with them before. She stays with them for a summer and then leaves suddenly. Then ten years later she gets a call from her grandfather saying her cousin is missing and she should come home. The story is told in alternating timelines, slowly revealing the events of that summer as she tries to solve her cousin's disappearance in the present. I thought it would be a mystery/thriller, but honestly it was more like a VC Andrews/Jackie Collins shlockfest. I would have loved this when I twelve, like I loved Flowers in the Attic, but it's not really my thing now.

( Various complaints with lots of spoilers )

Thornfruit
Fantasy novel with an f/f romance and a lot of palace intrigue type stuff. The first half was pretty slow and I was kind of feeling like I might not bother with further books, but it got a lot better in the second half and I think I will read the next one.

The Death of Public School: How Conservatives Won the War Over Education in America
In the end I felt like this just wasn't critical enough for me. I also would have liked more focus on homeschooling as well as vouchers and charter schools, since that's another way the right is trying to kill public schools, but it was barely touched on (just one mention of a supposed charter school that was actually homeschoolers). The structure of the book is also sort of focused around various court cases, and has no wrap up at the end, just the most recent court case as of the time of writing and then that's it. I was expecting some discussion about what could be done to try to repair things, but it was sort of like, welp, they've won, the end.

The Kill Clause
Short story about a woman who works as an assassin but realizes her employer has decided she's outlived her usefulness. This was free with Amazon's First Reads program, which is where I've been picking up some random short stories lately. It was all right. I wouldn't have bothered with it if I'd had to pay, though.

My Home Hero vol. 7-9

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Posted by Srishti Mitra

https://www.yankodesign.com/2025/11/07/risds-100k-loop-lab-creates-art-supplies-from-campus-waste/?utm_source=rss&utm_medium=rss&utm_campaign=risds-100k-loop-lab-creates-art-supplies-from-campus-waste

https://www.yankodesign.com/?p=589867

The Rhode Island School of Design has discovered something remarkable hiding in plain sight: their trash bins contain tomorrow’s art supplies. Through the newly launched Loop Lab initiative, what once headed to landfills now becomes raw material for the next generation of designers and artists. The Edna W. Lawrence Nature Lab spearheaded this ambitious pilot project with backing from a substantial $100,000 grant from the Maxwell/Hanrahan Foundation. The concept appears deceptively simple yet revolutionary in practice. Rather than purchasing new materials while simultaneously discarding potentially useful waste, RISD has created a closed-loop system that transforms campus refuse into studio-ready resources.

Walking through the Loop Lab reveals an almost alchemical process. Blotter paper that once absorbed spilled paint finds new life as a substrate for experimental work. Cotton muslin scraps, previously destined for disposal, emerge as carefully prepared materials ready for student projects. The transformation extends beyond mere recycling, representing a fundamental shift in how educational institutions can approach resource management. Students participate directly in this material resurrection, learning firsthand about circularity principles while solving practical design challenges. The hands-on approach ensures that sustainability becomes integral to creative education rather than an abstract concept discussed in theory classes.

Designer: Rhode Island School of Design

Each transformed material carries embedded stories about waste reduction, resourcefulness, and environmental responsibility. Recent media attention from design publication Dezeen highlights the broader implications of RISD’s approach. The coverage emphasizes how the initiative addresses what project leaders call “the lowest hanging fruit” in institutional sustainability efforts. By focusing on internal waste streams, the school creates immediate impact while developing scalable solutions for other educational institutions. The timing proves particularly significant as design schools worldwide grapple with sustainability mandates and environmental consciousness among students.

Loop Lab offers a practical framework that other institutions can adapt, creating measurable change without requiring massive infrastructure investments or complete curriculum overhauls. Material circularity research forms the theoretical backbone of the project, but practical applications drive daily operations. The lab expands understanding of how discarded matter can inform regenerative design practices, presenting students with materials that carry environmental narratives alongside creative possibilities. Each project becomes an exploration of both aesthetic potential and ecological responsibility.

The Nature Lab’s documentation through social media platforms reveals ongoing discoveries and successes. Students share their experiences working with transformed materials, creating a growing archive of circular design practices that extends the project’s influence beyond campus boundaries. Loop Lab represents more than waste reduction or cost savings. The initiative fundamentally questions traditional material sourcing while providing tangible alternatives. Students graduate with direct experience in circular design principles, carrying these approaches into professional practice where sustainable material choices increasingly influence client decisions and project outcomes.

As design education evolves to meet environmental challenges, RISD’s Loop Lab demonstrates how institutions can transform operational necessities into educational opportunities. The pilot project’s success suggests a future where campus waste streams become integral components of creative curricula, turning every scrap into a story worth telling. This innovative approach positions RISD at the forefront of sustainable design education, creating a model that combines environmental stewardship with creative excellence while preparing students for a future where circular design principles define industry standards.

The post RISD’s $100K Loop Lab Creates Art Supplies From Campus Waste first appeared on Yanko Design.

https://www.yankodesign.com/?p=589867

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Posted by Vincent Nguyen

https://www.yankodesign.com/2025/11/07/beekeeb-toucan-the-split-ergonomic-keyboard-built-for-travelers/?utm_source=rss&utm_medium=rss&utm_campaign=beekeeb-toucan-the-split-ergonomic-keyboard-built-for-travelers

https://www.yankodesign.com/?p=590016

The Beekeeb Toucan asks a question that ergonomic keyboard enthusiasts have been wrestling with for years: why should comfort stay home? Split keyboards and columnar layouts have long belonged to desk-bound workers, their benefits tethered to permanent workstations and cable management systems. This 42-key wireless design challenges that assumption.

Designer: Beekeeb

Two halves sit independently, angled outward to match natural shoulder width. Keys follow a columnar stagger rather than traditional row offset. Each key positions directly beneath a finger’s natural arc of movement. These principles are well-established in ergonomic design, but the Toucan’s interpretation focuses on what most split keyboards treat as secondary: portability without compromise.

Engineering Movement Into Ergonomics

Material choices reveal priorities. An anodized aluminum top plate provides structural rigidity and premium typing surface, while 3D-printed construction sheds weight from the bottom case. This hybrid approach answers the specific demands of travel: constant packing, unpacking, shifting between surfaces that may or may not be level. The result weighs significantly less than comparable mechanical keyboards yet maintains the solid feel necessary for confident typing. Low-profile Kailh Choc V1 switches keep everything close to the desk surface, reducing wrist extension while preserving tactile feedback.

The columnar stagger deserves particular attention. Traditional keyboards offset keys horizontally because that layout accommodated typewriter mechanisms, not human anatomy. But fingers move more naturally up and down than side to side. Aligning keys in vertical columns adjusted for each finger’s length reduces lateral reaching and finger curling. Small reductions compound significantly over hours of use.

Placing a 40mm circular touchpad on the right keyboard half solves a familiar problem for anyone who has tried maintaining ergonomics while traveling. Laptop trackpads force users to center their body with the screen, pushing the keyboard into asymmetric position. External mice require desk space and introduce reaching movements that negate split layout benefits. The Toucan’s integrated trackpad keeps both hands on home position. Cursor control becomes thumb movement rather than arm extension, maintaining portability while eliminating separate pointing devices through the Cirque GlidePoint sensor’s precision tracking in a compact footprint.

This integration matters particularly for mobile work environments where desk space is limited or nonexistent. Coffee shop tables. Airplane tray tables. Hotel desks. These spaces punish conventional ergonomic setups that sprawl across multiple square feet, but the Toucan consolidates typing and pointing into two connected halves that adapt ergonomic principles to constrained real estate.

Efficiency Through Component Selection

The memory-in-pixel display on the left half exemplifies the keyboard’s efficiency-focused design. This technology, borrowed from smartwatch engineering, updates only changed pixels rather than refreshing the entire screen, dramatically reducing power consumption compared to conventional displays. Battery life can extend to 4,000 hours on a modest 1,500 mAh cell when paired with ZMK firmware. That figure is not theoretical. ZMK optimizes wireless efficiency through aggressive power management, putting the keyboard into deep sleep between keystrokes and waking instantly when needed.

The open-source nature allows users to customize power profiles, though even default settings deliver weeks or months between charges depending on usage patterns. Beyond efficiency metrics, the display serves practical ergonomic purposes: current layer information, battery status, and connectivity indicators appear without requiring users to memorize LED blink patterns or consult software. This immediate feedback reduces cognitive load and maintains workflow continuity, particularly valuable when switching between devices or adjusting layouts on the fly.

ZMK firmware provides more than power efficiency. Open-source programmability allows users to adapt the keyboard to their specific ergonomic needs rather than conforming to preset layouts. Key positions can be remapped to reduce finger stretching. Frequently used combinations consolidate to single keys. Custom layers accommodate different tasks without abandoning muscle memory. This flexibility becomes particularly valuable for users with specific ergonomic requirements. Someone with limited finger mobility can consolidate modifier keys to thumb clusters, while a user prone to repetitive strain can spread common key combinations across multiple fingers. The ability to experiment with different configurations without hardware limitations transforms the keyboard from static tool into adaptive interface.

The open-source heritage traces back through the Piantor to the Cantor design, demonstrating how community-driven development can accelerate ergonomic innovation. Each iteration addresses real-world feedback from actual users, refining dimensions, switch positions, and feature integration based on practical experience rather than marketing assumptions.

Compromises and Considerations

Split keyboards traditionally require users to choose between portability and features. Compact designs sacrifice programmability or build quality, while feature-rich options become too bulky for travel. The Toucan attempts to resolve this through modular availability options: DIY kits at $189 appeal to enthusiasts comfortable with soldering and assembly, offering the lowest entry price while maintaining complete control over switch selection and build quality. Pre-soldered options at $298 eliminate assembly complexity but still require sourcing keycaps and switches separately. Fully assembled units with switches and keycaps push toward $352, competing directly with established options like the ZSA Voyager at $365.

That pricing positions the Toucan as a considered purchase rather than impulse buy. However, the Voyager lacks wireless connectivity and integrated pointing, requiring additional purchases for equivalent functionality. The Keychron Q13 Max, while more affordable at $250, weighs substantially more and uses wired connection that limits portability. The optional carrying bag reflects practical travel considerations. Split keyboards create packing challenges with two separate pieces, exposed switches, and electronics. A purpose-designed case protects components while keeping both halves together during transit.

The Toucan does not eliminate all compromises inherent to portable ergonomics. The 42-key layout requires layers for numbers, function keys, and special characters, creating a learning curve for users accustomed to dedicated keys for every function. This cognitive overhead can temporarily reduce productivity during the transition period. The Choc V1 switch ecosystem offers fewer options than standard MX switches. While tactile, linear, and clicky variants exist, enthusiasts seeking specific force curves or exotic switch types will find selection limited. Keycap availability similarly constrains customization, with Choc spacing requiring dedicated sets that cost more and offer fewer aesthetic options than MX keycaps.

Battery procurement adds friction to the purchase process, as shipping regulations prevent Beekeeb from including batteries. Users must source compatible cells separately. While standard hobby batteries work, this extra step complicates what should be straightforward unboxing. These limitations reflect genuine constraints rather than oversights. Compact layouts inherently sacrifice dedicated keys for portability, niche switch formats will always offer less variety than dominant standards, and battery shipping restrictions affect all manufacturers equally. Understanding these trade-offs helps potential users evaluate whether the Toucan’s strengths align with their specific needs.

Portable Ergonomics as Design Goal

The fundamental proposition the Toucan advances: ergonomic benefits should not require permanent workstation installations. Coffee shop workers, digital nomads, frequent travelers, and anyone who splits time between multiple locations have historically chosen between comfort and mobility. Heavy split keyboards stay home. Laptop keyboards cause strain but pack easily.

By packaging columnar layout, split design, integrated pointing, and extended battery life into travel-friendly form factor, the Toucan suggests a third option. Ergonomics become portable. The setup that reduces wrist strain at a home desk can accompany users to temporary workspaces without requiring compromises in either direction.

Whether this approach succeeds depends on individual priorities. Users who value maximum key count, premium switch feel, or comprehensive keycap selection will find the Toucan’s compromises too limiting. Those who prioritize portability above all else might find even this compact design too complex compared to minimalist 40% layouts. But for workers who move between locations while maintaining significant typing demands, the Toucan addresses a genuine gap. It proposes that ergonomic design can serve movement rather than constraining it, that comfort can travel alongside laptops and cables rather than waiting at dedicated desks.

The question is not whether everyone needs this approach. It is whether enough people recognize they have been making unnecessary compromises.

The Beekeeb Toucan is available for pre-order starting at $189 for DIY kits, with shipments beginning in December. Pre-assembled options with switches and keycaps reach approximately $352.

The post Beekeeb Toucan: The Split Ergonomic Keyboard Built for Travelers first appeared on Yanko Design.

https://www.yankodesign.com/?p=590016

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Posted by Tanvi Joshi

https://www.yankodesign.com/2025/11/07/this-bridge-shaped-house-hangs-weightlessly-between-two-forested-hillsides/?utm_source=rss&utm_medium=rss&utm_campaign=this-bridge-shaped-house-hangs-weightlessly-between-two-forested-hillsides

https://www.yankodesign.com/?p=589571

Amid the dense, monsoon-fed vegetation of Karjat, India, The Bridge House by Wallmakers, under the direction of architect Vinu Daniel, appears as if it were woven into the landscape itself. A natural stream has carved a seven-meter-deep gorge through the terrain, splitting the land into two disconnected parcels. What could have been a limitation became the defining opportunity to create a dwelling that does not conquer the landscape but hovers above it, merging architecture with the act of crossing.

Rather than filling the void, Wallmakers chose to span it, crafting an occupiable bridge that physically and symbolically unites the site. Since no foundations could be placed within the 100-foot spillway, the design evolved into a suspended home anchored delicately by only four footings on either side of the gorge. The result is a structure that appears to levitate, a line of lightness drawn between two fragments of land.

Designer: Wallmakers

Necessity became invention. The form of The Bridge House emerged from the challenge of building across a natural divide without disturbing it. Conceived as a 100-foot-long suspension bridge, the home is composed of four hyperbolic parabolas, mathematical forms that achieve strength through geometric efficiency. Steel tendons and pipes provide tensile stability, while a thatch-and-mud composite forms the compressive shell.

This combination, simultaneously ancient and modern, generates a dialogue between tension and compression, precision and softness. The house becomes both structure and skin, taut like a bowstring yet flexible enough to adapt to the living landscape.

True to Wallmakers’ ethos of contextual minimalism, the house sits lightly upon its site. The thatched surface, arranged in overlapping scales reminiscent of a pangolin’s skin, blends seamlessly with the forest canopy. Beyond aesthetics, this cladding provides thermal insulation, maintaining cool interiors amid Karjat’s humid climate.

The decision to use only four anchoring points ensures that the gorge and its contours remain untouched. The house becomes a visitor, not an intruder, in the ecosystem it occupies.

Every material used in The Bridge House carries intention. The mud plaster coating that envelops the thatch serves as both armor and adhesive: it prevents pests from entering, enhances compressive strength, and eliminates the need for vertical pillars. In doing so, it underscores the project’s central belief that material intelligence can achieve structural innovation without technological excess.

Inside, the design continues its conversation with nature. At the core of the house lies an oculus, an open circle framing the sky. During rainfall, water filters through this void into a central courtyard, transforming the climate into a sensory event. The interplay of light, water, and air activates the interior, making the house respond to every passing hour.

The interiors are minimal yet warm, defined by reclaimed ship-deck wood, jute, and woven mesh screens that modulate light and airflow. Four bedrooms open outward, some toward the treetops, others overlooking the stream, creating a rhythmic dialogue between enclosure and exposure. The transitions are seamless: the line between “inside” and “outside” dissolves into filtered light and moving shadows.

In The Bridge House, Wallmakers once again demonstrate their mastery of building with the land, not on it. The project stands as an exploration of local materials, structural logic, and ecological sensitivity, a philosophy that defines Vinu Daniel’s work across India.

Suspended above the gorge yet rooted in its context, The Bridge House does more than connect two parcels of land. It connects technology with tactility, structure with story, and human presence with the pulse of nature. In doing so, it reimagines architecture not as a static object, but as a living, breathing bridge between worlds.

The post This Bridge-Shaped House Hangs Weightlessly Between Two Forested Hillsides first appeared on Yanko Design.

https://www.yankodesign.com/?p=589571

senmut

AO3 Link | Lessons In Living and Death (100 words) by Merfilly
Chapters: 1/1
Fandom: Forever Knight
Rating: General Audiences
Warnings: No Archive Warnings Apply
Characters: Janette DuCharme
Additional Tags: Drabble, Introspection, Canonical Character Death
Summary:

Janette, reflecting over lessons

Lessons in Living and Death

There had been a time when Janette had been certain she knew just what life, and death, were all about. She could have all of the pretty things she wished, craft games to entertain her, and enjoy Nick's company.

Then he arrived in her city after a long absence, and things began falling apart. From his near-killing of their creator to his wanton embroilment in human policies and lives, Nick was upending every rule of her existence. His partner and his love interest alike added to the chaos.

Meeting Robert changed everything.

Losing him was a bitter lesson of loss.

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Posted by Sarang Sheth

https://www.yankodesign.com/2025/11/07/stanleys-pour-over-kit-might-be-the-last-coffee-brewer-youll-ever-need-to-buy/?utm_source=rss&utm_medium=rss&utm_campaign=stanleys-pour-over-kit-might-be-the-last-coffee-brewer-youll-ever-need-to-buy

https://www.yankodesign.com/?p=589933

Watch on YouTube

The brand famous for its tumblers (and how incredibly durable they are) is looking to upend the coffee industry too. Stanley’s ‘Perfect Pour Over Brew Set’ is the company’s take on pour-overs, redesigning them in a way that’s simple, robust, and reusable. The set features a pour-over top (with a metal filter) and and a Stanley cup for its base. No coffee filters, no disposable liners. Every inch of this brew set is designed for travel, durability, and sustainability.

The Perfect Pour Over Brew Set’s design feels unmistakably ‘Stanley’. The simple metal outer construction, with powder-coated color-ways. The Stanley logo front and center, and a 2-part design that’s simple yet ruthlessly effective, whether you’re brewing a cuppa in your kitchen or the great outdoors. I guess the Perfect moniker suits it, no?

Designer: Stanley

Click Here to Buy Now

The pour-over set is capable of brewing anywhere from your standard 8oz cup, to a whopping 1.4 quart (44.8 oz) bottle. Its wide top holds enough grounds to make a large batch for an entire family or your average caffeine-addict. You don’t need anything more than what the Perfect presents you with. No scales, no fancy kettle to pour water, not even a coffee filter. The Perfect’s upper element features a 2-part design, with a lower half that unscrews to reveal a fine perforated mesh filter. This reduces waste but also ensures cleaning remains a breeze… but as far as pouring goes, all you do is load the top over your Stanley mug (it even fits the larger Stanley bottles), add the grounds, and pour hot water up until the line marked on the inside.

Once you’ve poured out the hot water, the process takes anywhere in the 5-10 minute range depending on how much coffee you’re making. A single cup doesn’t take long, and once the water’s percolated, your cup of coffee is ready to enjoy – either immediately, or on the go, thanks to a sipper lid that comes with the brew set, designed for the mug. Cleaning the upper portion out is simple. Just suspend it over a waste bin and tap vigorously against the sides to make the grounds fall out. Then, just rinse with water and your brew set is ready for round 2.

Just like their tumblers, this one is built to survive pretty much anything. Whether it’s your standard LA girlie brewing coffee in her boutique apartment’s kitchen, or the average outdoor lover taking this to the campsite for a cup of joe, the Perfect Pour Over Brew Set travels really well, and its color palette lends itself perfectly to the outdoor landscape, your tailgating setup, or even that KitchenAid mixer or Smeg fridge adding vibrant life to your kitchen!

Click Here to Buy Now

The post Stanley’s Pour Over Kit Might Be the Last Coffee Brewer You’ll Ever Need to Buy first appeared on Yanko Design.

https://www.yankodesign.com/?p=589933

earthspirits posting in

historium

Fandom: Dark Shadows (1966)
Main Characters: Dr. Julia Hoffman, Gerard Stiles, Daphne Harridge, Barnabas Collins, Eliot Stokes. Other DS characters also feature in this story + an original character.
Relationships: Gerard / Daphne and Julia / Barnabas
Eras: 19th Century, 20th Century + Parallel Timeline
Title: Midwinter
Rating: Mature
Word Count thus far: 1,923
Note: This story features some spoilers for DS 1970 / 1971 storylines.
Trigger Warnings for Chapter 1: Angst, danger and suspense, reference to past grieving, brief references to past deaths, violence, blood, gore.
Summary: In 1971, Dr. Julia Hoffman stumbles across a portal while walking in the woods. Swept into a future parallel world, she finds sanctuary at Collinwood. To her dismay, she soon learns that the Collins family of this reality is under siege. An ancient enemy seeks to destroy them, and it's up to Julia to help defeat it.

Link: archiveofourown.org/works/73731971/chapters/192254016

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summersgate

I came across this picture the other day. It's of the creek down back last February. I thought, wow - all the different ways that spot can look through the seasons.

IMG_20251106_134739306-(1).jpg

Yesterday the same view.

summersgate

What a dull and dreary day today has become. A light and cold rain is falling presently. I'm out of hotspot internet for my laptop so I don't even know if I can post this. (Update - Dave let me hook up to his hotspot.) Tomorrow we get a fresh batch of internet hotspot - 15 gb for the month. This is the first time I ran out before the month ended. Usually Dave's the one who runs out. I need to remember, I absolutely can not watch any video stuff on my laptop next month.

This morning we met Chloe for brunch in Oil City at Heaven's Bakery. I had my usual - honey salmon with broccoli and rice. Got a brownie to take home. We shopped at Core Goods too and I got more candied ginger root. I love that stuff. This batch that they were selling now is extra hot and spicy. Good, but a shock.

I started back on a puzzle I had abandoned for the summer. I just wasn't getting anywhere with it so I left it on the desk in the spare room covered over with a piece of poster board so it wouldn't be disturbed. But I want it out of there now and I want to do a different puzzle. I considered just packing it up, unfinished and moving on but then thought, dammit, you are not going to beat me. So that's what I'm doing in spats of time between painting mirrors.

Today's.

Yesterday's batch.

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Posted by Sarang Sheth

https://www.yankodesign.com/2025/11/07/finally-you-can-3d-print-real-silicone-molds-and-gaskets-on-your-prusa-3d-printer/?utm_source=rss&utm_medium=rss&utm_campaign=finally-you-can-3d-print-real-silicone-molds-and-gaskets-on-your-prusa-3d-printer

https://www.yankodesign.com/?p=589922

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Anyone who’s worked with flexible 3D printing filaments knows their limitations; TPU and TPE only go so far, and nothing on the desktop market has matched the heat resistance and elasticity of real silicone. We’ve been stuck making parts that feel rubbery but fail the moment they get too warm or need to seal properly. That’s all changed with the arrival of Prusa’s new XL printhead, developed in collaboration with Filament2. This toolhead uses a pioneering dual-filament system to produce actual, industrial-grade silicone prints, a feat that moves desktop printing into a whole new category of material science.

Instead of extruding a simple thermoplastic, this system feeds two liquid-core filaments into the nozzle, where their outer sheaths are stripped away. The liquid silicone components are then mixed and cured in real time as they are deposited. This is not some rubber-like substitute; it is genuine silicone with all its useful properties, created right on the print bed of a standard Prusa XL. The elegance of containing the entire two-part mixing process within a clean, self-contained filament and toolhead system is a massive engineering win, solving the mess and complexity that has kept liquid printing out of reach for most people until now.

Designer: Prusa

This method completely sidesteps the need for the clumsy pumps and reservoirs seen in previous experimental liquid printers. The genius is in the filament itself. By encasing the two liquid parts in a stable sheath, Filament2 has created something that handles just like a standard spool of PLA. The printhead does the heavy lifting, performing a micro-scale version of what you would do with a two-part epoxy, but with incredible precision. You get the benefits of a reactive polymer without the hazardous mess, which opens up a world of possibilities for creating functional, end-use parts, not just look-alike prototypes.

Think about the immediate applications for this technology. In the automotive world, the ability to print custom, one-off silicone gaskets, seals, and vibration dampeners is a game changer for restoration and prototyping. No more waiting weeks for a custom mold or settling for a close-enough part. For product designers, this means creating truly functional prototypes with soft-touch grips, flexible waterproof seals, and even custom ergonomic components for wearables. Because silicone is skin-safe and can be sterilized, it also opens up possibilities for custom medical models and assistive devices. We are talking about end-use parts, not just look-alike models.

The choice to launch this on the Prusa XL platform is also incredibly clever. The XL’s main selling point is its automatic tool-changing capability, which suddenly makes it the perfect machine for true multi-material fabrication. You could print a rigid nylon housing with one toolhead, then have the printer automatically swap to the silicone head to print integrated waterproof seals and vibration-dampening feet onto the same part in a single, uninterrupted job. This elevates the machine from a multi-color printer to a genuine multi-property manufacturing station. It’s a level of automation and material integration that was previously reserved for machines costing tens of thousands of dollars.

Now, it’s important to keep expectations grounded. This will not be as simple or cheap as printing with standard PLA. The specialized filament from Filament2 will undoubtedly carry a premium price, and I anticipate a learning curve. The process requires incredible precision; any imbalance in the mixing ratio or inconsistency in the liquid cores could lead to failed prints where the silicone doesn’t cure properly. We still need to see long-term reliability data and learn about the maintenance requirements for a printhead that handles what are essentially reactive adhesives. Still, even as a niche application, it pushes the entire industry forward by showing what’s possible when you rethink the entire printing process, from the filament spool to the nozzle tip.

The post Finally, You Can 3D-Print Real Silicone Molds and Gaskets on Your Prusa 3D Printer first appeared on Yanko Design.

https://www.yankodesign.com/?p=589922

ysabetwordsmith

People are having funerals for the world's melting glaciers. Could it mobilize further climate action?

Glaciers around the world are melting so quickly that the scale of the loss is difficult to comprehend. Death, on the other hand, is a universal experience, familiar across all cultures.

To bridge that gap, anthropologists Dominic Boyer and Cymene Howe of Rice University are drawing parallels between human death rituals and the disappearance of glaciers, offering people a more tangible way to understand what’s being lost.

( Read more... )

Current Mood: busy

purplecat

A lone upright standing stone in a field with a little fence around it

Stone 'O' Quoybune, Orkney

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Posted by Vincent Nguyen

https://www.yankodesign.com/2025/11/07/hongqi-hs6-phev-where-art-meets-engineering-in-chinas-record-breaking-luxury-suv/?utm_source=rss&utm_medium=rss&utm_campaign=hongqi-hs6-phev-where-art-meets-engineering-in-chinas-record-breaking-luxury-suv

https://www.yankodesign.com/?p=589965

FAW’s Hongqi brand just proved that plug-in hybrid SUVs can go the distance. The Hongqi HS6 PHEV set a Guinness World Record by traveling 2,327.343 kilometers on a single full charge and fuel tank without refueling, departing from Shangri-La on October 30 and arriving in Guangzhou on November 3. The achievement surpassed previous record holders including Chery’s Fulwin T10, establishing new benchmarks for plug-in hybrid range capability. But beyond the impressive range figures, this 5-seater SUV makes its strongest statement through two areas where Chinese automakers are increasingly competing with global luxury brands: exterior design presence and interior craftsmanship.

Designer: Hongqi

A Grille Designed by Rolls-Royce Royalty

The Hongqi HS6 PHEV’s front fascia bears the unmistakable signature of Giles Taylor, the former Rolls-Royce chief designer who now leads Hongqi’s design direction. The closed grille reinterprets traditional Chinese design language through the lens of British ultraluxury aesthetics, featuring a waterfall design with 12 vertical chrome strips that create a sculptured, three-dimensional effect rather than the flat appearance common in many electric and hybrid vehicles. Each strip catches light differently as you move around the vehicle, creating visual depth that changes with viewing angle and ambient lighting conditions.

The vertical chrome elements flow from top to bottom in a cascading pattern, clearly echoing the iconic Rolls-Royce grille treatment, with Hongqi’s signature red brand logo anchoring the composition. This approach solves a design challenge facing many plug-in hybrid and electric vehicles: how to maintain brand identity and visual presence when traditional grilles are no longer needed for cooling. Rather than simply blanking off the grille area or adding fake vents, Taylor and the Hongqi design team have created a distinctive design element that serves as both brand signature and sculptural statement.

The HS6 PHEV measures 4,995mm in length, 1,960mm in width, and 1,760mm in height, with a 2,920mm wheelbase. These dimensions place it firmly in the mid-size luxury SUV segment, competing with vehicles like the BMW X5, Mercedes-Benz GLE, Toyota Highlander Hybrid, and Lexus RX Hybrid in terms of physical presence and market positioning.

Interior: Where Functionality Meets Premium Comfort

Step inside the HS6 PHEV and you encounter a layered dashboard design that prioritizes both technology integration and visual sophistication. The design team created distinct horizontal layers that separate different functional zones while maintaining cohesive aesthetics. An integrated dual-screen setup spans the upper dashboard section, consisting of a central control screen and a dedicated co-pilot entertainment screen. This is complemented by a digital instrument cluster behind the three-spoke multi-function steering wheel.

Physical buttons have been nearly eliminated in favor of digital controls, a hallmark of modern Chinese luxury design that maximizes clean surfaces and reduces visual clutter. The transmission selector is mounted on the steering column, freeing up valuable center console real estate for practical features like 50W wireless charging for mobile phones, dual cupholders, and access to an onboard refrigerator. A 12-speaker audio system is distributed throughout the cabin for balanced sound delivery across all seating positions.

The Zero-Gravity Front Passenger Experience

The standout interior feature is the zero-gravity co-pilot seat, which goes beyond the typical power adjustment and heating functions found in this segment. While all seats in the HS6 PHEV support electric adjustment, ventilation, and heating functions, the front passenger seat adds an integrated legrest and a 10-point massage system. This level of front passenger pampering is more commonly found in luxury sedans than SUVs, positioning the HS6 PHEV as a vehicle designed for both drivers and passengers who value comfort on longer journeys.

The rear seats also feature electric adjustment, ventilation, and heating capabilities, ensuring premium comfort extends throughout the cabin. The standard trunk offers 503 liters of capacity, with an additional 49 liters of hidden storage space. Folding the rear seats expands total cargo volume to 1,977 liters.

Performance and Range: The Record-Breaking Formula

Power comes from a 1.5-liter turbocharged engine producing 110 kW (148 hp) and 225 Nm of peak torque, with a thermal efficiency of 45.21%. Consumers can choose between two-wheel and four-wheel drive configurations, both with a top speed of 205 km/h. Combined system power outputs are 168 kW (225 hp) for the two-wheel drive version and 369 kW (495 hp) for the four-wheel drive variant.

Battery options include 23.9 kWh and 39.5 kWh lithium iron phosphate packs, offering CLTC pure electric ranges of 152 km, 250 km, and 235 km depending on configuration. The hybrid design combines electric efficiency for daily commuting with fuel flexibility for longer journeys, particularly valuable in markets like China where charging infrastructure varies significantly by region. Comprehensive ranges reach 1,580 km, 1,650 km, and 1,460 km according to Chinese news outlet Sohu. Curb weight varies from 2,040 kg to 2,285 kg depending on battery and drivetrain configuration.

Global Ambitions

Pre-sale is scheduled to begin November 15 in China, but Hongqi’s ambitions extend well beyond the domestic market. The brand is planning international expansion into Europe and the Middle East, positioning the HS6 PHEV as evidence that Chinese automakers can compete in premium segments where design execution, luxury features, and engineering credibility matter as much as specifications.

The HS6 PHEV represents Hongqi’s strategy of combining record-breaking engineering capability with design leadership from one of the luxury automotive world’s most respected figures. Giles Taylor’s influence is evident throughout the vehicle, from the Rolls-Royce-inspired grille to the sophisticated interior execution. The sculptured grille and premium interior features position the vehicle as a credible alternative to established luxury SUVs, with the added benefit of plug-in hybrid efficiency and impressive total range.

For buyers seeking a luxury SUV that doesn’t compromise on either electric driving capability or long-distance flexibility, the HS6 PHEV’s Guinness World Record provides tangible proof of its engineering credentials, while the design details demonstrate that Chinese automakers are increasingly competitive in the premium segments where aesthetic execution matters as much as performance numbers.

The post Hongqi HS6 PHEV: Where Art Meets Engineering in China’s Record-Breaking Luxury SUV first appeared on Yanko Design.

https://www.yankodesign.com/?p=589965

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Posted by Ida Torres

https://www.yankodesign.com/2025/11/07/the-invisible-kitchen-revolution-igt-phantom-stove/?utm_source=rss&utm_medium=rss&utm_campaign=the-invisible-kitchen-revolution-igt-phantom-stove

https://www.yankodesign.com/?p=589651

You know that moment when technology becomes so intuitive it practically disappears? That’s exactly what Shenzhen Juyouhang Technology Co. just pulled off with their IGT Phantom Stove, a MUSE Design Award winner that’s making waves in the outdoor cooking scene for all the right reasons.

At first glance, the name “Phantom” might sound a bit dramatic for a camping stove. But spend a minute looking at this design, and you’ll get it. This isn’t your clunky, utilitarian camping gear that screams “I’m roughing it in the wilderness.” Instead, it’s a sleek piece of equipment that bridges the gap between serious outdoor functionality and the kind of minimalist aesthetic we’ve come to expect from our favorite tech gadgets.

Designer: Shenzhen Juyouhang Technology

The IGT system, for those not already deep into the camping world, stands for Iron Grill Table, a modular camping kitchen concept that originated in Japan. Think of it like LEGO blocks for your outdoor cooking setup. Different components slot into a unified system, letting you customize your camp kitchen however you want. The Phantom Stove takes this concept and refines it with a sophistication that feels more Apple Store than sporting goods aisle.

What makes this stove particularly clever is how it manages to be simultaneously present and absent. When you need it, it’s there, ready to boil water or cook a gourmet camp meal. When you don’t, its foldable design and clean lines mean it practically melts into your setup. There’s no visual clutter, no awkward bulk taking up precious space in your gear collection or on your camp table.

The design philosophy here speaks to a broader shift happening in outdoor equipment. We’re moving past the era when camping gear had to look rugged and intimidating to be taken seriously. Today’s outdoor enthusiasts want products that perform brilliantly but also respect their aesthetic sensibilities. They’re taking Instagram-worthy photos of their campsites, hosting friends for glamping weekends, and expecting their gear to look as good as it functions.

Shenzhen Juyouhang Technology clearly understands this market evolution. The Phantom Stove’s stainless steel construction suggests durability without sacrificing elegance. Its compatibility with the IGT system means it plays well with others, fitting seamlessly into existing setups rather than demanding you rebuild your entire camp kitchen around it. This kind of thoughtful integration is what separates good design from great design.

The portability factor can’t be overstated either. Modern campers are increasingly mobile, whether they’re van-lifers constantly on the move, backpackers counting every ounce, or weekend warriors who want setup and breakdown to be as painless as possible. A stove that folds down without complicated mechanisms or fragile parts is worth its weight in gold. Or in this case, stainless steel.

There’s also something refreshing about seeing Chinese design firms like Shenzhen Juyouhang Technology getting recognition on the international stage. The MUSE Design Awards spotlight excellence from around the globe, and this win reflects how innovation in outdoor equipment is truly becoming a worldwide conversation. Great ideas can come from anywhere, and the camping community benefits when designers from different cultures and perspectives bring their unique approaches to solving common challenges.

What’s particularly exciting about products like the Phantom Stove is how they lower the barrier to entry for people curious about outdoor cooking. When gear looks approachable and fits naturally into your life rather than requiring a complete lifestyle overhaul, more people are willing to give it a try. You don’t need to be a hardcore backpacker to appreciate clean design and smart functionality.

The recognition from MUSE Design Awards validates what many outdoor enthusiasts already know: the gear we use matters, not just for performance but for the entire experience. When your equipment is well-designed, intuitive, and beautiful, it enhances every moment of your adventure. You’re not fighting with finicky mechanisms or tolerating eyesores. You’re just cooking, enjoying nature, and living well.

The IGT Phantom Stove represents where outdoor design is heading: smarter, sleeker, and more integrated into our lives. It’s proof that we don’t have to choose between function and form, between serious performance and sophisticated aesthetics. We can have both, and honestly, we should demand both.

The post The Invisible Kitchen Revolution: IGT Phantom Stove first appeared on Yanko Design.

https://www.yankodesign.com/2025/11/07/the-invisible-kitchen-revolution-igt-phantom-stove/?utm_source=rss&utm_medium=rss&utm_campaign=the-invisible-kitchen-revolution-igt-phantom-stove

https://www.yankodesign.com/?p=589651

ysabetwordsmith

Today is sunny and mild.

I fed the birds. I've seen a large mixed flock of sparrows and house finches.

I put out water for the birds.

Current Mood: busy

shadowhive

So this is gonna be one of those posts about a bunch of stuff.

First off, good news. So about three weeks ago there was an issue when I went to see Tron Ares/Zoopcalypse, with ticket inspectors being assholes. Short version: the ticket machine wasn’t working and instead of helping people they were being assholes, including not believing people and slapping them with penalty fares. Well it took a few attempts, including having to quote the penalty dar act back to them, but the thing got withdrawn so that’s a stress gone. Also I heard back from the train company when I complained and they also admitted that they were in the wrong and would be reprimanded. So woo!

On Wednesday night I decided to get back to the Doctor Who run, with Planet Of Evil. The ep itself was ok. Like I watched and it was a decent enough story but it’s not one that exactly lingers you know? Also the name is a total misnomer cause the planet isn’t evil.

While the story didn’t feel special the same can’t be said about the sets. The spaceship has a nice model and interiors were nice. But the standout was the jungle of the planet which looks fantastic. The designers did such an incredible job (and even the bbc at the time acknowledged it, the behind the scenes mentions it was included inan in house film about goood design) and it really manages to be such a strange and alien landscape.

Yesterday was the trip out to Telford, which was a place I’d not been to before. It meant an early stuff which is annoying (especially after having one for the prior day) but we got there in good time. (And it was so beautiful seeing all the trees on the way in oranges and yellows) The place overall was… it was fine, but the stores just felt so much smaller than I expected, especially the hmv.

Primark didn’t have the hellfire jacket I wanted (which wasn’t a surprise it seems only bigger stores do) but I got a lil coin purse and a Hellfire tee. The tee is a new design and I can’t help but wonder if that’s significant. (I can’t imagine Dustin changing the design, so I feel it has to mean something? But what I dunno) But cause they didn’t have the jacket mum fixated on it, like making me wanna decide what to do about it. (She kept asking, ‘what’re you gonna do? Are you gonna order it? Are you going to ask your cousin to look for it?’ And I’m like ??? I can’t do any of those things now why can’t you wait till we’re home)

We went in a few places after that. Game didn’t have much, m and s had the new party food so I looked at it but it felt really expensive. (Ie they have mini tacos this year and they’re over twice the price that they were in sainsburys). Then in Pandora they had the Stranger Things charms so I could finally see them (I’ve wanted to see them for about a year but this is the first store that’s had them) and I got the one I always liked. I dunno if mums putting it up for Christmas or if I’m giving the money for it next week.

Then when we got to entertainer and b and m mum just got more agitated about the time so we didn’t do much in either. I got the stranger things tin and glass from b and m though which is nice and I saw the cute new Steve plushie in the entertainer, though I wish I’d picked him up.

HMV was really small and didn’t have stuff I was looking for. I did get two CDs from the 2 for £16, DJO and Twenty One Pilots (mostly to see what the fuss is about with the latter, I do wonder if I should’ve checked for Biffy’s new album instead. As I went to the till I also picked up a Young Frankenstein blu ray which was meant to have 20% (though when I checked the receipt email later didn’t) and an impulse purpose from ‘the discount with purchase’of chainsaw man season 1.(will I regret that? Who knows)

Then we had noms before heading home and aww Midna was so sweeet she just climbed straight into my lap the moment I sat down.

When we got back we were tired, though it seems the tiredness hit mum more. She completed zonked out half way through Art Detectives and didn’t wake for almost two hours. As a result I didn’t see Celebrity Traitors until this lunchtime. I knew there’d been some spoilers so I had avoided them yesterday… but this morning I saw one quickly and mum heard on the radio who won.

(Spoiler cut for people)

( Read more... )

Before that (and I know I’m going backwards but shh) this morning magazines came. I had hoped they’d come yesterday so I could read them in the car but oh well (not that I had reading focus anyway). I’ve not had chance to look at either, but I had a flick through of Sfx. It’s a Stranger Things one and I got a Dustin cover (other options are Will, Mike and Lucas) which is nice, plus there’s a poster, stickers and art card. Next month’s one is also Strnager Things so I’m curious if that’ll have more freebies or covers. Hopefully I’ll be able to read some of it, and the Doctor Who one, tomorrow.

(Also there’s gonna be Stranger Things coming back to Fortnite, I’m hoping for a Steve or Eddie skin. The game only has a Demogorgon, Hopper and Eleven so far)

Also this morning (and again I’m going back) I listened to the new Set It Off album, but just once before walking Naryu. It’s a strange one cause 8 of the 12 songs have already been released which is definitely an odd choice. It’s hard to judge after one full listen of the thing, I feel I definitely like some of the unreleased stuff but I don’t care much about Pathological (the opener and last single) and Ithink it’s an odd choice to have a redone version of an old song take up one slot.

It’s also the release of the new Hyrule Warriors but I’ve not got it yet. Usually I preorder Zelda stuff, but the timing has been so bad. I’m hoping to get it next week (I want it as a download but that means getting an sd card for it which ugh) I do wanna finish Pokémon ZA beforehand though, so I hope to go back on it more this weekend. The thing with ZA is it’s hard to know how far I’m into it. With Pokémon games it’s usually easy, you can track how far you are by how many of 8 badges you have, but with this there’s no clear indicator and I’ve not really wanted to look into it to find out (cause I don’t wanna spoil myself) I guess we’ll see though.

Tonight’s plan is to watch Beyond Paradise, Sister Boniface and hopefully to fic some after noms. This weekend I might watch a film with mum but I dunno what, maybe Hocus Pocus, Fantastic 4 First Steps or both. Or neither if I get too sidetracked, who knows.

Current Mood: tired
Current Music: Tv

The color of infinity inside an empty glass

The random insanity of your not-entirely-typical geek

World’s Comfiest Mouse looks legitimately ugly… but it somehow works

Fandom Fifty: #36

Weekly Reading

RISD’s $100K Loop Lab Creates Art Supplies From Campus Waste

Beekeeb Toucan: The Split Ergonomic Keyboard Built for Travelers

Engineering Movement Into Ergonomics

Efficiency Through Component Selection

Compromises and Considerations

Portable Ergonomics as Design Goal

This Bridge-Shaped House Hangs Weightlessly Between Two Forested Hillsides

30 in 30: Forever Knight

Stanley’s Pour Over Kit Might Be the Last Coffee Brewer You’ll Ever Need to Buy

Midwinter - Mature Dark Shadows (1966) Alternate Universe Tale

Duck Prints Press 2025 Queer Book Challenge blackout!

comparing

friday

The Fourteenth Year of Chenghua by Meng Xi Shi

Finally, You Can 3D-Print Real Silicone Molds and Gaskets on Your Prusa 3D Printer

Climate Change

Random Neolithic Stones on a Friday

Hongqi HS6 PHEV: Where Art Meets Engineering in China’s Record-Breaking Luxury SUV

A Grille Designed by Rolls-Royce Royalty

Interior: Where Functionality Meets Premium Comfort

The Zero-Gravity Front Passenger Experience

Performance and Range: The Record-Breaking Formula

Global Ambitions

The Invisible Kitchen Revolution: IGT Phantom Stove

Birdfeeding

Bury me in stardust

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