Through Lines 159

Saturday, May 20, 2023

It’s been a while since we’ve seen something new from Gareth Edwards. The Creator looks like it might make that wait worth it.

The Cult of the Founders does a good job of positing the situation at Twitter while also making a case for what’s also going on elsewhere throughout Silicon Valley.
“As we work towards developing .. we would do well to look to our more-than-human counterparts for inspiration, guidance, and solidarity. The mind of a computer is just one of many — a way of being on Earth, among others.” There's nothing unnatural about a computer.
Clive Thompson's approach to research note taking effectively describes exactly what these weekly Through Line entries are for — using the same terminology too.
Photomator looks interesting but does raise questions about the nature of conventional photography — and by extension memory and reality.
I loathe unstructured group brainstorm sessions. They’re almost always terrible and result in few, if any, actual good ideas because one or two people dominate the room.
The return to the office continues to be greatly exaggerated and all around shitty.
An open letter to restrict the use of AI artwork in publishing.
An investigation into the origins of the aphorism “art is anything you can get away with,” rightly attributed to Marshall McLuan.
Malcom Harris’ new book Palo Alto is definitely going on my summer reading list.
This massive 1.3 Gigapixel composite of the moon is stunningly beautiful.
Go for the wonderful talk on self-motivation. Stay for the lesson on drum rolls.
Neutraface, the gentrification font.

Potch Auacherdkul’s Glazier released through Positype is a real cracker full of sharp contrast and jaunty, angular italics that are more sprinting than walking fast. I find myself particular drawn to the light styles which feel modern yet let the family’s historical inspiration shine.
MD System, a venerable Grotesque workhorse already, saw a further expansion with a new sub-family of mono styles. Modern, versatile, and yet still warm and just enough personality to avoid being another Helvetica.
Vitruv Display from Studio René Bieder aims to “unite ideal proportions, combining elegance and warmth with sturdiness and versatility.” I’d say this one succeeds very well through it’s elegant, shapely curves and crisp, architectural angles.
The original random font, LTR Beowolf engineered by Just van Rossum and Erik van Blokland in 1989 is back baby! This time you don’t have to wait until you print to see what you’re going to get.
Inspired by “desiccated monuments,” and gravestones, East of Rome’s Relic is meant to be used large for titles or viewed from a distance. The inclusion of Arabic support along with Cyrillic uniquely makes it stand out.
I do like a nice, tightly spaced and condensed serif face such as Flavia Zimardi designed with her release of Jobim. Definitely for large settings.
Mota Italic’s Maku has apparently been around since 2017 and updated in 2021, but caught my eye this week as a very good option for natural looking handwriting.