The LCVG is the all-important base layer that will keep the crew cool and comfortable while inside the AxEMU and on spacewalks. Cold water is circulated through tubes embedded in the suit to whisk heat away from astronauts’ bodies. And, should the primary system fail, there is a backup, unlike older cooling suits. The LCVG also houses the ventilation system that supplies fresh oxygen to the AxEMU helmet and directs exhaled CO2 to a scrubber for recirculation.
The collaboration between Axiom Space and Prada isn’t the first time NASA has gotten involved with a project that blended high-tech materials and manufacturing with high-fashion design. It also funded the BioSuit concept created by MIT professor Dava Newman with help from renowned architect Guillermo Trotti.
The LCVG is the all-important base layer that will keep the crew cool and comfortable while inside the AxEMU and on spacewalks. Cold water is circulated through tubes embedded in the suit to whisk heat away from astronauts’ bodies. And, should the primary system fail, there is a backup, unlike older cooling suits. The LCVG also houses the ventilation system that supplies fresh oxygen to the AxEMU helmet and directs exhaled CO2 to a scrubber for recirculation.
The collaboration between Axiom Space and Prada isn’t the first time NASA has gotten involved with a project that blended high-tech materials and manufacturing with high-fashion design. It also funded the BioSuit concept created by MIT professor Dava Newman with help from renowned architect Guillermo Trotti.
#NASA #wear #hightech #Prada #long #johns #MoonDesign,News,Science,Space,Tech">NASA will wear high-tech Prada long johns to the Moon
We’ve seen Axiom Space and Prada’s collaboration on the Axiom Extravehicular Mobility Unit (AxEMU) spacesuit. Now the company has revealed the Liquid Cooling and Ventilation Garment (LCVG) that astronauts will wear underneath it when Artemis IV returns humans to the Moon in 2028.
The LCVG is the all-important base layer that will keep the crew cool and comfortable while inside the AxEMU and on spacewalks. Cold water is circulated through tubes embedded in the suit to whisk heat away from astronauts’ bodies. And, should the primary system fail, there is a backup, unlike older cooling suits. The LCVG also houses the ventilation system that supplies fresh oxygen to the AxEMU helmet and directs exhaled CO2 to a scrubber for recirculation.
The collaboration between Axiom Space and Prada isn’t the first time NASA has gotten involved with a project that blended high-tech materials and manufacturing with high-fashion design. It also funded the BioSuit concept created by MIT professor Dava Newman with help from renowned architect Guillermo Trotti.
One of the first casualties, to my dismay, was em dashes—which are a great, and very human form of punctuation, by the way! There’s also the “rule of threes,” which is meant to scan as rhythmic, but often comes across predictable, hackish, and stale. And, of course, there are the clunky grammatical constructions of the “not X, but Y” variety.
Now certain fonts and typefaces—specifically serifs—seem to be defining (and giving away) AI, both in actual software, and in vibe-coded design boilerplates. Some are calling it “tasteslop,” the results of the effort to make generative AI designs seem superficially sophisticated or distinguished.
The shift away from slicker, more conspicuously computerized typefaces is something the San Francisco Bay Area writer, designer, and type practitioner Keya Vadgama has termed “the serif renaissance.” In a recent newsletter, published on her Substack, Vadgama suggests the move is a bid for companies to project more “personality and warmth.”
“It’s not that difficult to discern why AI-native companies in particular are being drawn to serif fonts: AI is inherently cold and without opinion,” she writes. “[Using serifs] signals ‘We’re AI! But real humans use (and made) our product! We swear!’”
“Serifs have an origin in calligraphy,” Vadgama tells WIRED. “It connotes a very human, fluid way of making letterforms.” Vadgama has noticed that Anthropic’s Claude was defaulting to serifs. Other AI companies—Runway, Perplexity, Manus—had also adopted similar typefaces in their UX and branding.
Reached for comment, Perplexity chief communications officer Jesse Dwyer tells WIRED: “Why wouldn’t we have human design? Perplexity is for people.”
Vadgama believes the use of serifs is as much about aesthetics as building confidence between users and brands. Certain font choices signal, even at some preconscious psychological level, trust. Sans serifs (your Arials, Calibiris, Helviticas) are too clean, too computer-y. Good old Times New Roman, and similar typographic designs, can feel a bit more dignified. Recently, Vadgama was doing some branding work with a (since-shuttered) AI startup, which favored the serif text. “A big part of it,” she says, “is, ‘How do we position ourselves in a way that people are not afraid of us?’”
Serifs can help build that conviction, or at least the illusion of it. Times New Roman itself was commissioned in the 1930s by Britain’s Times newspaper. The typeface carries a certain authoritative heft. Books and newspapers are printed using it. It was all but standardized in the decades before screen reading. Perhaps most famously, the Encyclopedia Brittanica—arguably the authoritative compendium of human knowledge, at least pre-World Wide Web—was set in Times.
“In the broad public, a serif carries connotations of scholarship,” says Ali S. Qadeer, chair of graphic design at the Ontario College of Art and Design in Toronto. “Claude is interesting. It’s using this slightly brown background to mirror a book page. It’s sort of emulating the feeling of reading print. And print has deeper associations with trust.”
As reported by The New York Times, even the US State Department has returned to using Times New Roman after Secretary of State Marco Rubio decried Calibri as “informal,” pegging the department’s adoption of the sans serif typeface on some wider, Biden-era DEI initiative.
Both Qadeer and Vadgama see the trend toward serifs as a rejoinder to AI’s perceived (and, indeed, literal) lack of soul, and the wider public suspicion of the technology. They’re not the only ones. Alongside the “tasteslop” discourse, people online have criticized the serification of AI aesthetics as “generic” and “very ugly.”
One of the first casualties, to my dismay, was em dashes—which are a great, and very human form of punctuation, by the way! There’s also the “rule of threes,” which is meant to scan as rhythmic, but often comes across predictable, hackish, and stale. And, of course, there are the clunky grammatical constructions of the “not X, but Y” variety.
Now certain fonts and typefaces—specifically serifs—seem to be defining (and giving away) AI, both in actual software, and in vibe-coded design boilerplates. Some are calling it “tasteslop,” the results of the effort to make generative AI designs seem superficially sophisticated or distinguished.
The shift away from slicker, more conspicuously computerized typefaces is something the San Francisco Bay Area writer, designer, and type practitioner Keya Vadgama has termed “the serif renaissance.” In a recent newsletter, published on her Substack, Vadgama suggests the move is a bid for companies to project more “personality and warmth.”
“It’s not that difficult to discern why AI-native companies in particular are being drawn to serif fonts: AI is inherently cold and without opinion,” she writes. “[Using serifs] signals ‘We’re AI! But real humans use (and made) our product! We swear!’”
“Serifs have an origin in calligraphy,” Vadgama tells WIRED. “It connotes a very human, fluid way of making letterforms.” Vadgama has noticed that Anthropic’s Claude was defaulting to serifs. Other AI companies—Runway, Perplexity, Manus—had also adopted similar typefaces in their UX and branding.
Reached for comment, Perplexity chief communications officer Jesse Dwyer tells WIRED: “Why wouldn’t we have human design? Perplexity is for people.”
Vadgama believes the use of serifs is as much about aesthetics as building confidence between users and brands. Certain font choices signal, even at some preconscious psychological level, trust. Sans serifs (your Arials, Calibiris, Helviticas) are too clean, too computer-y. Good old Times New Roman, and similar typographic designs, can feel a bit more dignified. Recently, Vadgama was doing some branding work with a (since-shuttered) AI startup, which favored the serif text. “A big part of it,” she says, “is, ‘How do we position ourselves in a way that people are not afraid of us?’”
Serifs can help build that conviction, or at least the illusion of it. Times New Roman itself was commissioned in the 1930s by Britain’s Times newspaper. The typeface carries a certain authoritative heft. Books and newspapers are printed using it. It was all but standardized in the decades before screen reading. Perhaps most famously, the Encyclopedia Brittanica—arguably the authoritative compendium of human knowledge, at least pre-World Wide Web—was set in Times.
“In the broad public, a serif carries connotations of scholarship,” says Ali S. Qadeer, chair of graphic design at the Ontario College of Art and Design in Toronto. “Claude is interesting. It’s using this slightly brown background to mirror a book page. It’s sort of emulating the feeling of reading print. And print has deeper associations with trust.”
As reported by The New York Times, even the US State Department has returned to using Times New Roman after Secretary of State Marco Rubio decried Calibri as “informal,” pegging the department’s adoption of the sans serif typeface on some wider, Biden-era DEI initiative.
Both Qadeer and Vadgama see the trend toward serifs as a rejoinder to AI’s perceived (and, indeed, literal) lack of soul, and the wider public suspicion of the technology. They’re not the only ones. Alongside the “tasteslop” discourse, people online have criticized the serification of AI aesthetics as “generic” and “very ugly.”
#Serif #Fontsartificial intelligence,design,ux/ui,art,typography,fonts,chatbots,claude,chatgpt">AI Has Come for Serif Fonts
As public backlash to the seeming omnipresence of artificial intelligence intensifies, the collective quest to weed out—and reject—telltale signs of its use continues.
One of the first casualties, to my dismay, was em dashes—which are a great, and very human form of punctuation, by the way! There’s also the “rule of threes,” which is meant to scan as rhythmic, but often comes across predictable, hackish, and stale. And, of course, there are the clunky grammatical constructions of the “not X, but Y” variety.
Now certain fonts and typefaces—specifically serifs—seem to be defining (and giving away) AI, both in actual software, and in vibe-coded design boilerplates. Some are calling it “tasteslop,” the results of the effort to make generative AI designs seem superficially sophisticated or distinguished.
The shift away from slicker, more conspicuously computerized typefaces is something the San Francisco Bay Area writer, designer, and type practitioner Keya Vadgama has termed “the serif renaissance.” In a recent newsletter, published on her Substack, Vadgama suggests the move is a bid for companies to project more “personality and warmth.”
“It’s not that difficult to discern why AI-native companies in particular are being drawn to serif fonts: AI is inherently cold and without opinion,” she writes. “[Using serifs] signals ‘We’re AI! But real humans use (and made) our product! We swear!’”
“Serifs have an origin in calligraphy,” Vadgama tells WIRED. “It connotes a very human, fluid way of making letterforms.” Vadgama has noticed that Anthropic’s Claude was defaulting to serifs. Other AI companies—Runway, Perplexity, Manus—had also adopted similar typefaces in their UX and branding.
Reached for comment, Perplexity chief communications officer Jesse Dwyer tells WIRED: “Why wouldn’t we have human design? Perplexity is for people.”
Vadgama believes the use of serifs is as much about aesthetics as building confidence between users and brands. Certain font choices signal, even at some preconscious psychological level, trust. Sans serifs (your Arials, Calibiris, Helviticas) are too clean, too computer-y. Good old Times New Roman, and similar typographic designs, can feel a bit more dignified. Recently, Vadgama was doing some branding work with a (since-shuttered) AI startup, which favored the serif text. “A big part of it,” she says, “is, ‘How do we position ourselves in a way that people are not afraid of us?’”
Serifs can help build that conviction, or at least the illusion of it. Times New Roman itself was commissioned in the 1930s by Britain’s Times newspaper. The typeface carries a certain authoritative heft. Books and newspapers are printed using it. It was all but standardized in the decades before screen reading. Perhaps most famously, the Encyclopedia Brittanica—arguably the authoritative compendium of human knowledge, at least pre-World Wide Web—was set in Times.
“In the broad public, a serif carries connotations of scholarship,” says Ali S. Qadeer, chair of graphic design at the Ontario College of Art and Design in Toronto. “Claude is interesting. It’s using this slightly brown background to mirror a book page. It’s sort of emulating the feeling of reading print. And print has deeper associations with trust.”
As reported by The New York Times, even the US State Department has returned to using Times New Roman after Secretary of State Marco Rubio decried Calibri as “informal,” pegging the department’s adoption of the sans serif typeface on some wider, Biden-era DEI initiative.
Both Qadeer and Vadgama see the trend toward serifs as a rejoinder to AI’s perceived (and, indeed, literal) lack of soul, and the wider public suspicion of the technology. They’re not the only ones. Alongside the “tasteslop” discourse, people online have criticized the serification of AI aesthetics as “generic” and “very ugly.”
The company announced the AlphaFold smartphone on Thursday—targeting business executives—which comes outfitted with the Hermes Agent. This agent can purportedly handle schedules and tasks on a user’s behalf and “connect to enterprise systems.” Agents are big in the smartphone world right now, with companies like Google and Samsung offering ways for Gemini on Android smartphones to perform tasks such as booking an Uber or ordering DoorDash. Vertu is cashing in on that trend.
But the company has a checkered past. Originally, Vertu was a Nokia subsidiary that made handcrafted luxury Nokia phones (in the UK!) in the early 2000s. Each phone came with access to a live concierge service. The company faced headwinds with the smartphone revolution and fell behind the times. Vertu then changed hands over several years, with various acquisitions, eventually shuttering its UK factory and laying off staff.
Courtesy of Vertu
In the last few years, the company has been churning out luxury Android smartphones again—it debuted a folding flip phone last year that starts at $4,300 (with a calfskin backplate, naturally). In late 2025, it unveiled the Agent Q, which it calls the “world’s first AI agent phone for entrepreneurs.”
While the company still claims a British heritage, its phones are no longer made in the UK, and according to its website, its head office is in Hong Kong. Vertu spokesperson Viki You tells WIRED that the phones are “still handcrafted,” but they’re assembled in China. “We have different factories,” You says, noting that the company sources its high-end materials from other countries, like the full-grain calfskin from Italy.
The AlphaFold has all the markings of a high-end Android smartphone. It’s powered by the Qualcomm Snapdragon 8 Elite chipset from 2025 and is 11.8 millimeters thick when folded, 5.4 mm when unfolded. Not quite as svelte as the Samsung Galaxy Z Fold7, but not far off from competitors like the Google Pixel 10 Pro Fold. Vertu says the hinge and screen architecture were tested to withstand 650,000 folds, which is more than Samsung’s claim of 500,000 folds.
Inside is a 6,500-mAh silicon-anode battery, an up-and-coming battery technology that’s been making waves in Chinese smartphones and has only recently made its way into Western smartphones from the likes of Motorola. There’s 65-watt fast charging, a 120-Hz screen refresh rate for the inner 8.05-inch screen, and a 6.53-inch outer screen. There’s a triple-camera system with a 50-megapixel main camera, a 50-megapixel ultrawide, and a 5-megapixel telephoto.
The company announced the AlphaFold smartphone on Thursday—targeting business executives—which comes outfitted with the Hermes Agent. This agent can purportedly handle schedules and tasks on a user’s behalf and “connect to enterprise systems.” Agents are big in the smartphone world right now, with companies like Google and Samsung offering ways for Gemini on Android smartphones to perform tasks such as booking an Uber or ordering DoorDash. Vertu is cashing in on that trend.
But the company has a checkered past. Originally, Vertu was a Nokia subsidiary that made handcrafted luxury Nokia phones (in the UK!) in the early 2000s. Each phone came with access to a live concierge service. The company faced headwinds with the smartphone revolution and fell behind the times. Vertu then changed hands over several years, with various acquisitions, eventually shuttering its UK factory and laying off staff.
Courtesy of Vertu
In the last few years, the company has been churning out luxury Android smartphones again—it debuted a folding flip phone last year that starts at $4,300 (with a calfskin backplate, naturally). In late 2025, it unveiled the Agent Q, which it calls the “world’s first AI agent phone for entrepreneurs.”
While the company still claims a British heritage, its phones are no longer made in the UK, and according to its website, its head office is in Hong Kong. Vertu spokesperson Viki You tells WIRED that the phones are “still handcrafted,” but they’re assembled in China. “We have different factories,” You says, noting that the company sources its high-end materials from other countries, like the full-grain calfskin from Italy.
The AlphaFold has all the markings of a high-end Android smartphone. It’s powered by the Qualcomm Snapdragon 8 Elite chipset from 2025 and is 11.8 millimeters thick when folded, 5.4 mm when unfolded. Not quite as svelte as the Samsung Galaxy Z Fold7, but not far off from competitors like the Google Pixel 10 Pro Fold. Vertu says the hinge and screen architecture were tested to withstand 650,000 folds, which is more than Samsung’s claim of 500,000 folds.
Inside is a 6,500-mAh silicon-anode battery, an up-and-coming battery technology that’s been making waves in Chinese smartphones and has only recently made its way into Western smartphones from the likes of Motorola. There’s 65-watt fast charging, a 120-Hz screen refresh rate for the inner 8.05-inch screen, and a 6.53-inch outer screen. There’s a triple-camera system with a 50-megapixel main camera, a 50-megapixel ultrawide, and a 5-megapixel telephoto.
#Vertu #Folding #Phone #Powered #bySurprisean #Agentphones,smartphones,android,shopping,luxury,design">Vertu Is Back With a Folding Phone Powered by—Surprise—an AI Agent
The company announced the AlphaFold smartphone on Thursday—targeting business executives—which comes outfitted with the Hermes Agent. This agent can purportedly handle schedules and tasks on a user’s behalf and “connect to enterprise systems.” Agents are big in the smartphone world right now, with companies like Google and Samsung offering ways for Gemini on Android smartphones to perform tasks such as booking an Uber or ordering DoorDash. Vertu is cashing in on that trend.
But the company has a checkered past. Originally, Vertu was a Nokia subsidiary that made handcrafted luxury Nokia phones (in the UK!) in the early 2000s. Each phone came with access to a live concierge service. The company faced headwinds with the smartphone revolution and fell behind the times. Vertu then changed hands over several years, with various acquisitions, eventually shuttering its UK factory and laying off staff.
Courtesy of Vertu
In the last few years, the company has been churning out luxury Android smartphones again—it debuted a folding flip phone last year that starts at $4,300 (with a calfskin backplate, naturally). In late 2025, it unveiled the Agent Q, which it calls the “world’s first AI agent phone for entrepreneurs.”
While the company still claims a British heritage, its phones are no longer made in the UK, and according to its website, its head office is in Hong Kong. Vertu spokesperson Viki You tells WIRED that the phones are “still handcrafted,” but they’re assembled in China. “We have different factories,” You says, noting that the company sources its high-end materials from other countries, like the full-grain calfskin from Italy.
The AlphaFold has all the markings of a high-end Android smartphone. It’s powered by the Qualcomm Snapdragon 8 Elite chipset from 2025 and is 11.8 millimeters thick when folded, 5.4 mm when unfolded. Not quite as svelte as the Samsung Galaxy Z Fold7, but not far off from competitors like the Google Pixel 10 Pro Fold. Vertu says the hinge and screen architecture were tested to withstand 650,000 folds, which is more than Samsung’s claim of 500,000 folds.
Inside is a 6,500-mAh silicon-anode battery, an up-and-coming battery technology that’s been making waves in Chinese smartphones and has only recently made its way into Western smartphones from the likes of Motorola. There’s 65-watt fast charging, a 120-Hz screen refresh rate for the inner 8.05-inch screen, and a 6.53-inch outer screen. There’s a triple-camera system with a 50-megapixel main camera, a 50-megapixel ultrawide, and a 5-megapixel telephoto.
“If there is an electric supercar to be built, then Ferrari will be the first,” Marchionne said. “People are amazed at what Tesla did with a supercar: I’m not trying to minimize what Elon, did but I think it’s doable by all of us.”
Well, Ferrari has not been the first. But it has certainly taken the award for most anticipated EV launch ever, what with the drip-feed strategy of an initial model “nickname” of Elettrica, then last October’s powertrain reveal, then, in February, the Apple-esque LoveFrom-designed interior spearheaded by Jony Ive and Marc Newson.
Today’s reveal of the exterior in Rome by Ferrari ends the secrecy and completes the process. This is the Luce (Italian for “light”), the most consequential thing Maranello has made in decades.
Courtesy of Ferrari
The numbers are suitably high-end. Four motors, one per wheel, have a combined output of over 1,000 horsepower in Boost mode. The rear axle puts out 832 hp and 7,750 Nm to the wheels. The front axle adds 282 hp and 3,400 Nm. Full power is available in less than a second. Zero to 62 mph is dealt with in 2.5 seconds, then on to a top speed of 192 mph. This is effectively a hypercar in a GT disguise with five seats (a first for Ferrari).
The 122 kWh battery—one of the largest in any production EV—charges at up to 350 kW on an 800-volt system. Ferrari is claiming this battery gives the Luce a range of more than 329 miles per charge. The all-wheel drive and steering are inspired by the Purosangue SUV. Ferrari has confirmed a curb weight of 4,982 pounds, or 2,260 kg, which is only around 200 pounds more than the Purosangue, despite that thumping great battery pack.
Courtesy of Ferrari
#Luce #Electric #Ferrari #Finallyferrari,electric vehicles,sports cars,design,evs and hybrids">
“If there is an electric supercar to be built, then Ferrari will be the first,” Marchionne said. “People are amazed at what Tesla did with a supercar: I’m not trying to minimize what Elon, did but I think it’s doable by all of us.”
Well, Ferrari has not been the first. But it has certainly taken the award for most anticipated EV launch ever, what with the drip-feed strategy of an initial model “nickname” of Elettrica, then last October’s powertrain reveal, then, in February, the Apple-esque LoveFrom-designed interior spearheaded by Jony Ive and Marc Newson.
Today’s reveal of the exterior in Rome by Ferrari ends the secrecy and completes the process. This is the Luce (Italian for “light”), the most consequential thing Maranello has made in decades.
Courtesy of Ferrari
The numbers are suitably high-end. Four motors, one per wheel, have a combined output of over 1,000 horsepower in Boost mode. The rear axle puts out 832 hp and 7,750 Nm to the wheels. The front axle adds 282 hp and 3,400 Nm. Full power is available in less than a second. Zero to 62 mph is dealt with in 2.5 seconds, then on to a top speed of 192 mph. This is effectively a hypercar in a GT disguise with five seats (a first for Ferrari).
The 122 kWh battery—one of the largest in any production EV—charges at up to 350 kW on an 800-volt system. Ferrari is claiming this battery gives the Luce a range of more than 329 miles per charge. The all-wheel drive and steering are inspired by the Purosangue SUV. Ferrari has confirmed a curb weight of 4,982 pounds, or 2,260 kg, which is only around 200 pounds more than the Purosangue, despite that thumping great battery pack.
Courtesy of Ferrari
#Luce #Electric #Ferrari #Finallyferrari,electric vehicles,sports cars,design,evs and hybrids">Let There Be Luce: The Electric Ferrari Is Finally Here
We have been waiting for the Ferrari Luce for eight years.
It was January 2018 when, at the North American International Auto Show in Detroit, former Ferrari chairman and CEO Sergio Marchionne first hinted at a “prancing horse” EV to compete with Tesla.
“If there is an electric supercar to be built, then Ferrari will be the first,” Marchionne said. “People are amazed at what Tesla did with a supercar: I’m not trying to minimize what Elon, did but I think it’s doable by all of us.”
Well, Ferrari has not been the first. But it has certainly taken the award for most anticipated EV launch ever, what with the drip-feed strategy of an initial model “nickname” of Elettrica, then last October’s powertrain reveal, then, in February, the Apple-esque LoveFrom-designed interior spearheaded by Jony Ive and Marc Newson.
Today’s reveal of the exterior in Rome by Ferrari ends the secrecy and completes the process. This is the Luce (Italian for “light”), the most consequential thing Maranello has made in decades.
Courtesy of Ferrari
The numbers are suitably high-end. Four motors, one per wheel, have a combined output of over 1,000 horsepower in Boost mode. The rear axle puts out 832 hp and 7,750 Nm to the wheels. The front axle adds 282 hp and 3,400 Nm. Full power is available in less than a second. Zero to 62 mph is dealt with in 2.5 seconds, then on to a top speed of 192 mph. This is effectively a hypercar in a GT disguise with five seats (a first for Ferrari).
The 122 kWh battery—one of the largest in any production EV—charges at up to 350 kW on an 800-volt system. Ferrari is claiming this battery gives the Luce a range of more than 329 miles per charge. The all-wheel drive and steering are inspired by the Purosangue SUV. Ferrari has confirmed a curb weight of 4,982 pounds, or 2,260 kg, which is only around 200 pounds more than the Purosangue, despite that thumping great battery pack.
Courtesy of Ferrari
#Luce #Electric #Ferrari #Finallyferrari,electric vehicles,sports cars,design,evs and hybrids
We have been waiting for the Ferrari Luce for eight years.It was January 2018 when,…
In general, the looks are softer. Corners are rounder, the gradients gently transition from almost pastel to the more saturated Google primary colors. We’ve already seen this new design language show in updated versions of the Google G logo, as well as Gemini, Photos, and Maps. According to 9to5, this represents the presence of AI-powered features.
The new icons are more playful, vibrant, and varied, reflecting recent design trends that have moved away from the flat looks of the late 2010s and early 2020s. Google Sheets, Slides, Forms, Sites, and Keep all ditch the portrait-oriented sheet of paper look. Many of them shift to landscape layout, which is much more appropriate — when is the last time you saw a vertical PowerPoint presentation?
Most of the icons feel like an improvement. They’re more visually distinct and often embrace a single color, like Chat, which trades the four-color speech bubble outline for a green blob with a smile inside it that feels reminiscent of Google Hangouts icon. The one exception is the Keep icon which, personal opinion, looks like hot trash.
It’s not clear when the new look icons will start rolling out, but it will probably be sooner than later.
In general, the looks are softer. Corners are rounder, the gradients gently transition from almost pastel to the more saturated Google primary colors. We’ve already seen this new design language show in updated versions of the Google G logo, as well as Gemini, Photos, and Maps. According to 9to5, this represents the presence of AI-powered features.
The new icons are more playful, vibrant, and varied, reflecting recent design trends that have moved away from the flat looks of the late 2010s and early 2020s. Google Sheets, Slides, Forms, Sites, and Keep all ditch the portrait-oriented sheet of paper look. Many of them shift to landscape layout, which is much more appropriate — when is the last time you saw a vertical PowerPoint presentation?
Most of the icons feel like an improvement. They’re more visually distinct and often embrace a single color, like Chat, which trades the four-color speech bubble outline for a green blob with a smile inside it that feels reminiscent of Google Hangouts icon. The one exception is the Keep icon which, personal opinion, looks like hot trash.
It’s not clear when the new look icons will start rolling out, but it will probably be sooner than later.
#Googles #gradient #icon #design #coming #appsDesign,Google,News,Tech">Google’s new gradient icon design is coming to more apps
In late 2025, Google started rolling out new icons with a gradient design. Now it seems the new look is coming to the rest of Google’s apps. 9to5Google got its hands on images of the new icons that ditch the uniform circle design that tries to cram in every color of the Google logo.
In general, the looks are softer. Corners are rounder, the gradients gently transition from almost pastel to the more saturated Google primary colors. We’ve already seen this new design language show in updated versions of the Google G logo, as well as Gemini, Photos, and Maps. According to 9to5, this represents the presence of AI-powered features.
The new icons are more playful, vibrant, and varied, reflecting recent design trends that have moved away from the flat looks of the late 2010s and early 2020s. Google Sheets, Slides, Forms, Sites, and Keep all ditch the portrait-oriented sheet of paper look. Many of them shift to landscape layout, which is much more appropriate — when is the last time you saw a vertical PowerPoint presentation?
Most of the icons feel like an improvement. They’re more visually distinct and often embrace a single color, like Chat, which trades the four-color speech bubble outline for a green blob with a smile inside it that feels reminiscent of Google Hangouts icon. The one exception is the Keep icon which, personal opinion, looks like hot trash.
It’s not clear when the new look icons will start rolling out, but it will probably be sooner than later.
In late 2025, Google started rolling out new icons with a gradient design. Now it…
L’Atitude 52°N’s glasses is called Goya, named after Francisco Goya, the famous Spanish artist who painted renowned masterpieces of romanticism.
CEO and founder Gary Chen, who has worked on wearable devices for companies like Oppo, OnePlus, and HTC, says his company’s glasses are focused on travelers, with AI features that act like a tour guide and talk about all the paintings in famous museums.
“Basically, you can say, ‘Hey, Goya, what is the story about Mona Lisa?’” Chen says. “You can ask anything and, with your permission, they will take a photo to analyze what’s in front of you.”
I ask if you could quiz it about perhaps the most famous Goya painting, the terrifying, Gothic horror-esque image of Saturn devouring his own son.
“Yes, yes,” Chen says, “It can also give you some recommendations about restaurants.”
Berlin-based L’Atitude 52°N is a new player in the smart glasses space, selling its first pairs on Kickstarter in September 2025, where the campaign surpassed its funding goal and raised more than $400,000. There have been some bumps since then, as shipments were delayed from an originally announced release date in February 2026, and one model in development was scrapped outright. Now, L’Atitude 52°N has announced an official release date for its smart glasses.
Preorders for one model, called Berlin, start on May 19. The glasses actually go on sale on May 26. This might be a disappointment for Kickstarter backers, as the most recent official update from the campaign came in March and said shipping would begin on April 15 for Berlin units and June 7 for the second model, called Milan. L’Atitude 52°N still hasn’t set an official launch date for the Milan, except to say that it will be “arriving in the second quarter of 2026.”
The Berlin glasses cost $399. Add another $50 for the photochromatic lenses. There is one very big catch: The AI features enabled on the device will only work for 12 months, which L’Atitude 52°N calls an “AI feature trial.” After that, customers have to pay for a subscription service, or will be limited to the base features, like playing music and capturing media.
How much will that subscription service cost? Chen says he doesn’t know.
L’Atitude 52°N’s glasses is called Goya, named after Francisco Goya, the famous Spanish artist who painted renowned masterpieces of romanticism.
CEO and founder Gary Chen, who has worked on wearable devices for companies like Oppo, OnePlus, and HTC, says his company’s glasses are focused on travelers, with AI features that act like a tour guide and talk about all the paintings in famous museums.
“Basically, you can say, ‘Hey, Goya, what is the story about Mona Lisa?’” Chen says. “You can ask anything and, with your permission, they will take a photo to analyze what’s in front of you.”
I ask if you could quiz it about perhaps the most famous Goya painting, the terrifying, Gothic horror-esque image of Saturn devouring his own son.
“Yes, yes,” Chen says, “It can also give you some recommendations about restaurants.”
Berlin-based L’Atitude 52°N is a new player in the smart glasses space, selling its first pairs on Kickstarter in September 2025, where the campaign surpassed its funding goal and raised more than $400,000. There have been some bumps since then, as shipments were delayed from an originally announced release date in February 2026, and one model in development was scrapped outright. Now, L’Atitude 52°N has announced an official release date for its smart glasses.
Preorders for one model, called Berlin, start on May 19. The glasses actually go on sale on May 26. This might be a disappointment for Kickstarter backers, as the most recent official update from the campaign came in March and said shipping would begin on April 15 for Berlin units and June 7 for the second model, called Milan. L’Atitude 52°N still hasn’t set an official launch date for the Milan, except to say that it will be “arriving in the second quarter of 2026.”
The Berlin glasses cost $399. Add another $50 for the photochromatic lenses. There is one very big catch: The AI features enabled on the device will only work for 12 months, which L’Atitude 52°N calls an “AI feature trial.” After that, customers have to pay for a subscription service, or will be limited to the base features, like playing music and capturing media.
How much will that subscription service cost? Chen says he doesn’t know.
#Smart #Glasses #ExOnePlus #Engineers #Hidden #Costsmart glasses,wearables,design,gadgets">These New Smart Glasses From Ex-OnePlus Engineers Have a Hidden Cost
Lots of smart glasses have AI bots inside them now. The one in L’Atitude 52°N’s glasses is called Goya, named after Francisco Goya, the famous Spanish artist who painted renowned masterpieces of romanticism.
CEO and founder Gary Chen, who has worked on wearable devices for companies like Oppo, OnePlus, and HTC, says his company’s glasses are focused on travelers, with AI features that act like a tour guide and talk about all the paintings in famous museums.
“Basically, you can say, ‘Hey, Goya, what is the story about Mona Lisa?’” Chen says. “You can ask anything and, with your permission, they will take a photo to analyze what’s in front of you.”
I ask if you could quiz it about perhaps the most famous Goya painting, the terrifying, Gothic horror-esque image of Saturn devouring his own son.
“Yes, yes,” Chen says, “It can also give you some recommendations about restaurants.”
Berlin-based L’Atitude 52°N is a new player in the smart glasses space, selling its first pairs on Kickstarter in September 2025, where the campaign surpassed its funding goal and raised more than $400,000. There have been some bumps since then, as shipments were delayed from an originally announced release date in February 2026, and one model in development was scrapped outright. Now, L’Atitude 52°N has announced an official release date for its smart glasses.
Preorders for one model, called Berlin, start on May 19. The glasses actually go on sale on May 26. This might be a disappointment for Kickstarter backers, as the most recent official update from the campaign came in March and said shipping would begin on April 15 for Berlin units and June 7 for the second model, called Milan. L’Atitude 52°N still hasn’t set an official launch date for the Milan, except to say that it will be “arriving in the second quarter of 2026.”
The Berlin glasses cost $399. Add another $50 for the photochromatic lenses. There is one very big catch: The AI features enabled on the device will only work for 12 months, which L’Atitude 52°N calls an “AI feature trial.” After that, customers have to pay for a subscription service, or will be limited to the base features, like playing music and capturing media.
How much will that subscription service cost? Chen says he doesn’t know.
![AI Has Come for Serif FontsAs public backlash to the seeming omnipresence of artificial intelligence intensifies, the collective quest to weed out—and reject—telltale signs of its use continues.One of the first casualties, to my dismay, was em dashes—which are a great, and very human form of punctuation, by the way! There’s also the “rule of threes,” which is meant to scan as rhythmic, but often comes across predictable, hackish, and stale. And, of course, there are the clunky grammatical constructions of the “not X, but Y” variety.Now certain fonts and typefaces—specifically serifs—seem to be defining (and giving away) AI, both in actual software, and in vibe-coded design boilerplates. Some are calling it “tasteslop,” the results of the effort to make generative AI designs seem superficially sophisticated or distinguished.The shift away from slicker, more conspicuously computerized typefaces is something the San Francisco Bay Area writer, designer, and type practitioner Keya Vadgama has termed “the serif renaissance.” In a recent newsletter, published on her Substack, Vadgama suggests the move is a bid for companies to project more “personality and warmth.”“It’s not that difficult to discern why AI-native companies in particular are being drawn to serif fonts: AI is inherently cold and without opinion,” she writes. “[Using serifs] signals ‘We’re AI! But real humans use (and made) our product! We swear!’”“Serifs have an origin in calligraphy,” Vadgama tells WIRED. “It connotes a very human, fluid way of making letterforms.” Vadgama has noticed that Anthropic’s Claude was defaulting to serifs. Other AI companies—Runway, Perplexity, Manus—had also adopted similar typefaces in their UX and branding.Reached for comment, Perplexity chief communications officer Jesse Dwyer tells WIRED: “Why wouldn’t we have human design? Perplexity is for people.”Vadgama believes the use of serifs is as much about aesthetics as building confidence between users and brands. Certain font choices signal, even at some preconscious psychological level, trust. Sans serifs (your Arials, Calibiris, Helviticas) are too clean, too computer-y. Good old Times New Roman, and similar typographic designs, can feel a bit more dignified. Recently, Vadgama was doing some branding work with a (since-shuttered) AI startup, which favored the serif text. “A big part of it,” she says, “is, ‘How do we position ourselves in a way that people are not afraid of us?’”Serifs can help build that conviction, or at least the illusion of it. Times New Roman itself was commissioned in the 1930s by Britain’s Times newspaper. The typeface carries a certain authoritative heft. Books and newspapers are printed using it. It was all but standardized in the decades before screen reading. Perhaps most famously, the Encyclopedia Brittanica—arguably the authoritative compendium of human knowledge, at least pre-World Wide Web—was set in Times.“In the broad public, a serif carries connotations of scholarship,” says Ali S. Qadeer, chair of graphic design at the Ontario College of Art and Design in Toronto. “Claude is interesting. It’s using this slightly brown background to mirror a book page. It’s sort of emulating the feeling of reading print. And print has deeper associations with trust.”As reported by The New York Times, even the US State Department has returned to using Times New Roman after Secretary of State Marco Rubio decried Calibri as “informal,” pegging the department’s adoption of the sans serif typeface on some wider, Biden-era DEI initiative.Both Qadeer and Vadgama see the trend toward serifs as a rejoinder to AI’s perceived (and, indeed, literal) lack of soul, and the wider public suspicion of the technology. They’re not the only ones. Alongside the “tasteslop” discourse, people online have criticized the serification of AI aesthetics as “generic” and “very ugly.”#Serif #Fontsartificial intelligence,design,ux/ui,art,typography,fonts,chatbots,claude,chatgpt](https://i3.wp.com/media.wired.com/photos/6a20d5436a7879400ec4323c/191:100/w_1280,c_limit/culture_ai_serif_font.jpg?ssl=1 "AI Has Come for Serif FontsAs public backlash to the seeming omnipresence of artificial intelligence intensifies, the collective quest to weed out—and reject—telltale signs of its use continues.One of the first casualties, to my dismay, was em dashes—which are a great, and very human form of punctuation, by the way! There’s also the “rule of threes,” which is meant to scan as rhythmic, but often comes across predictable, hackish, and stale. And, of course, there are the clunky grammatical constructions of the “not X, but Y” variety.Now certain fonts and typefaces—specifically serifs—seem to be defining (and giving away) AI, both in actual software, and in vibe-coded design boilerplates. Some are calling it “tasteslop,” the results of the effort to make generative AI designs seem superficially sophisticated or distinguished.The shift away from slicker, more conspicuously computerized typefaces is something the San Francisco Bay Area writer, designer, and type practitioner Keya Vadgama has termed “the serif renaissance.” In a recent newsletter, published on her Substack, Vadgama suggests the move is a bid for companies to project more “personality and warmth.”“It’s not that difficult to discern why AI-native companies in particular are being drawn to serif fonts: AI is inherently cold and without opinion,” she writes. “[Using serifs] signals ‘We’re AI! But real humans use (and made) our product! We swear!’”“Serifs have an origin in calligraphy,” Vadgama tells WIRED. “It connotes a very human, fluid way of making letterforms.” Vadgama has noticed that Anthropic’s Claude was defaulting to serifs. Other AI companies—Runway, Perplexity, Manus—had also adopted similar typefaces in their UX and branding.Reached for comment, Perplexity chief communications officer Jesse Dwyer tells WIRED: “Why wouldn’t we have human design? Perplexity is for people.”Vadgama believes the use of serifs is as much about aesthetics as building confidence between users and brands. Certain font choices signal, even at some preconscious psychological level, trust. Sans serifs (your Arials, Calibiris, Helviticas) are too clean, too computer-y. Good old Times New Roman, and similar typographic designs, can feel a bit more dignified. Recently, Vadgama was doing some branding work with a (since-shuttered) AI startup, which favored the serif text. “A big part of it,” she says, “is, ‘How do we position ourselves in a way that people are not afraid of us?’”Serifs can help build that conviction, or at least the illusion of it. Times New Roman itself was commissioned in the 1930s by Britain’s Times newspaper. The typeface carries a certain authoritative heft. Books and newspapers are printed using it. It was all but standardized in the decades before screen reading. Perhaps most famously, the Encyclopedia Brittanica—arguably the authoritative compendium of human knowledge, at least pre-World Wide Web—was set in Times.“In the broad public, a serif carries connotations of scholarship,” says Ali S. Qadeer, chair of graphic design at the Ontario College of Art and Design in Toronto. “Claude is interesting. It’s using this slightly brown background to mirror a book page. It’s sort of emulating the feeling of reading print. And print has deeper associations with trust.”As reported by The New York Times, even the US State Department has returned to using Times New Roman after Secretary of State Marco Rubio decried Calibri as “informal,” pegging the department’s adoption of the sans serif typeface on some wider, Biden-era DEI initiative.Both Qadeer and Vadgama see the trend toward serifs as a rejoinder to AI’s perceived (and, indeed, literal) lack of soul, and the wider public suspicion of the technology. They’re not the only ones. Alongside the “tasteslop” discourse, people online have criticized the serification of AI aesthetics as “generic” and “very ugly.”#Serif #Fontsartificial intelligence,design,ux/ui,art,typography,fonts,chatbots,claude,chatgpt")
