The Claude Aesthetic ⇥ newyorker.com

Kyle Chayka, the New Yorker:

As Claude Design catches on among Anthropic users, a generic-design aesthetic is emerging that’s as noticeable as text-based A.I. tics such as overenthusiastic em-dash usage or “not X … but Y” constructions. In slide decks and on website interfaces, there’s a predominance of beige- and cream-colored backgrounds, rusty orange-hued accents, and large serif typefaces that are italicized and highlighted in zealous attempts to emphasize. Subheadings are often “tracked out,” in design parlance, with spaces between the letters, and there’s an inexplicable prevalence of ticker-like text bars, as if the website were a cable-news show. […]

An off-white background? Rusty orange accent colours? Well, darn.

Naz Hamid:

I paused to think about what I found inspiring at this time, and what feels fundamentally me. The answer lay in a mix of blueprints, indigo dyes, and selvedge denim. Add in some mid-century Americana via compartmentalized typography, and here we are. In hindsight, I’ve used shades of blue a number of times with Weightshift, but had left it behind. The blues are back.

Nick Simson:

I am choosing to see myself as someone who is not competing with A.I. I can’t anyway, on either price or so-called “efficiency.” I probably didn’t want that kind of work anyway. I find myself being more deliberate in design decisions, and writing too, so my work resembles something made, not generated.

Now that a method of mass production has reached the knowledge work sector, it is interesting to see a whole class of people try to find and eradicate any whiff of A.I. from their work, regardless of whether it was put there by human or machine.