A coalition of international guilds for animators, screenwriters, and actors protest “artificial intelligence” at the Annecy Animation Film Festival:

“The technology is a vehicle for exploitation. It’s a vehicle to extract data that people have worked their entire lives to create, they put everything into that data. It’s not just data. Data is such a reductive word, but unfortunately that is how it can be exploited. So don’t listen to them.”

https://deadline.com/2025/06/annecy-ai-protest-animation-guilds-1236431752/

… By the way, @SophieWietlisbach’s new book, ‘Impact Type’, is quite impressive, even before reading any of the text. It’s about making type for typewriters in Switzerland from 1941–1997, and features tons of great historical material.
https://www.triest-verlag.ch/en/produkte/buch-26/design-140/impact-type-3039

Shipping isn’t cheap (at least to the USA, which cost more than twice the book itself) so you may want to do a group order with friends. But it seems like a book I would have otherwise regretted not ordering right away.

I want to thank @beep for sharing this indispensable essay by @mia and I want to deeply thank her, Miriam Eric Suzanne, for the time and the intellectual effort spent writing such an important critique. I read it once, I'm going to read it several times more (as well as Marcotte suggested).
I'm Italian, so: grazie mille! 🙏
https://www.miriamsuzanne.com/2025/02/12/tech-ai-wtf/

You absolutely owe it to yourself to read @mia’s post on “artificial intelligence”, eugenics, and the tech industry’s push to ally itself to an explicitly fascist project: https://www.miriamsuzanne.com/2025/02/12/tech-ai-wtf/

Quoting any section of @mia’s incredible essay feels like I’m doing it a disservice; I’ve read it several times, and I expect I’ll read it at least a few more.

With all that said, this is the section that I’m thinking about right now.

https://www.miriamsuzanne.com/2025/02/12/tech-ai-wtf/

In the Airtight Garage by Moebius there is a vignette that inspired me to a typical urban club scene, where everyone is crowded together drinking, ordering drinks, and trying to talk despite the din of the music, and I imagined myself there completely out of place.

https://www.instagram.com/p/DDiKS2ZNnT0/
-
https://www.instagram.com/p/DDho2lVNRMN/?img_index=1

Santi Pozzi, Prietto Viaja Al Cosmos Con Mariano at Zaguan Sur, Buenos Aires, 2013.

¡Gracias to Santi Pozzi for his recent donation of seven screen printed gig posters! We can’t wait to put these on the table next to Wilson, Moscoso, and MacLean.

#Psychedelic #Posters #Screenprint #SantiPozzi #Argentina

10 years ago today I published my article “Variable Fonts for Responsive Design” at A List Apart:
https://alistapart.com/blog/post/variable-fonts-for-responsive-design/

I was very happy when, a year and a half later, the OpenType specification was updated to support variable fonts.

Since then, I’ve spent a lot of time making and working with variable fonts, including building up the https://v-fonts.com directory (now sadly out of date).

There have been bumps in the road, but it’s been satisfying to see the technology spread over time.

… My “Variable Fonts for Responsive Design” article from 10 years ago followed an even older article I published almost 12 years ago now, titled “Font Hinting and the Future of Responsive Design”, also at A List Apart:
https://alistapart.com/column/font-hinting-and-the-future-of-responsive-typography/

The ideas from that article are a bit more optimistic and still haven’t been totally realized. The closest thing we have to it now is automatic optical size adjustments with variable web fonts, but even that situation is still quite messy.

if you haven’t read @kissane’s latest, this is an especially good time to do so https://www.wrecka.ge/bad-shape/

I don't know who to ask it: is there a thread, a group, a conversation about teaching A.I. in design school? I feel it as teaching how to cut your veins properly, so I'm against it, but I'd like to find a pubblic discussion.

Why do so many companies that do typesetting for book interiors seem to use the same handful of typefaces from 30+ years ago over and over? It’s always a strange disconnect when a book has interesting/contemporary typefaces on the cover but then the text on the inside is all set in something like Adobe Garamond or Sabon.

Are the typesetting companies just conservative, or is there some practical reason why they aren’t adopting more contemporary faces?

📕🎙️

Had a *delightful* time chatting about YOU DESERVE A TECH UNION on the latest Practical Design Leadership podcast! I spoke with Jaan and Justin about tech’s increasingly unionized workforce — and what that means for design leaders. https://designleadership.transistor.fm/s2/4

#YDATU #bookstodon #unions #TechUnions #1u #podcast #interview

@essl There’s a good chance you already know about this, but if not you may be interested in the BWHAM-tastic ‘DC Super Heroes Super Healthy Cookbook’ from 1981:
https://westread.blogspot.com/2024/02/blog-post.html

”Veterans who should be respected for the incredible contributions to our industry have been approached by high-profile production houses being like, ’Can you paint over this Midjourney image? Oh, and we’ll pay you half.’” — https://disconnect.blog/how-artists-are-fighting-generative-ai/

The recording of LoveFrom’s lecture is now online: https://letterformarchive.org/shop/unexpected-baskerville-the-story-of-lovefrom-serif/#video

An old lettering guide book “for use of U.S. Armed Forces personnel only”:
https://www.flickr.com/photos/nicksherman/53492917536/

I had the pleasure of being a guest on Kevin Powell’s YouTube channel to talk about the web, CSS, and what’s been happening with Safari.

https://youtu.be/nn3vYS_msc0?si=LJpf9CkkrtGfz9CU

@jensimmons Great! You are two of my favorite CSS experts.