
Montreal foundry Pangram Pangram just released Neue Gstaad, a 112-style typeface designed by Ian Party and named after the Swiss alpine resort town. The family stretches from ultra-compressed to expanded weights across Grotesk, Sans Serif, and Italic subfamilies, built to feel calm, precise, and "unbreakable" under pressure β like a mountain range.
Three developers at studio Shader published a full breakdown of their "infinite liquid glass grid" β a browser carousel where video refracts through fake glass cards on an endless, edgeless loop, built entirely with WebGPU (the browser's newest graphics engine) and TSL (Three.js Shading Language, a way to write visual effects in code). No actual lighting exists in the scene β every reflection is faked with math.

Natalie Doto, Creative Director at sports-branding studio Nomad, just led the first-ever visual identity for Manchester City Women, separate from the men's team crest. Her team built a monogram out of the club's "M," "C," and "W" fused into one flourish, explaining it as "a promise to light the path for others" β rooted in the club's history of firsts.

Adobe just rolled out generative AI tools built directly into Premiere Pro's timeline β including Generate Video to fill gaps using your own footage as reference, and Generate Sound Effects, which creates audio matched to your clip's rhythm from a text prompt alone. After Effects also got a beta AI Assistant that can reorganize projects and build motion effects from plain-language instructions.

Director Christopher Notlan made The Oddersy β a scrappy, homemade riff on Homer's Odyssey, shot and edited entirely on iMac desktops with a group of friends, zero crew, zero budget. It screened at Close-Up Cinema in London, proof-of-concept that ambition doesn't need a budget line.
5 stories Β· under 10 minutes. See you tomorrow.