The blue hen is lifeless. Lengthy reside the black X.
Because the Twitter birdie flew off to brand heaven this week, one thing else additionally gave the impression to be vanishing. A complete aesthetic.
The user-friendly design that has outlined tech from the primary smiling Macintosh in 1980, via the chirping aviary of social media within the current day, is quickly shedding floor. Instead? Person-horrifying design.
With amoral AI fast-tracked to take the place of social media because the web’s killer app, maybe we want design that serves extra as a warning than a beacon. Much less “come on in” and extra “preserve out.”
Certainly, at a look, the black X that the corporate launched as its work-in-progress brand this week remembers the skull-and-crossbones on cartoon bottles of poison.
In different phrases, if Twitter-turned-X is poisonous, possibly it’s time it was correctly labeled.
However the vibe shift didn’t begin this week. We had an inkling of the friendly-to-frightening metamorphosis in 2008 when the primary Tesla roadster — with its midlife-crisis styling — grew to become the face of electrical autos. The swaggering, outta-my-way design stole the class from the prudently formed Prius household hybrid.
Or possibly user-frightening design began to win within the 2010s, when Lyft, sporting cute Barbie-colored mustaches on automotive grilles, was soundly subjugated by Uber, with its heavy-metal brand and fascist identify. The candy communitarian sharing financial system was broadsided by the UberX highway hog.
(“Fascist” shouldn’t be hyperbole. The German prefix “über” was a favourite of the Nazis, who used it to explain their very own supposedly biologically superior race.)
Then there’s Fb’s transformation. “Face” is such a human phrase, and it went effectively with the platform’s invitation to befriend the world with kindergarten gestures — likes and shares and smiley faces.
However then in 2021 the corporate was emblazoned with an infinity signal and renamed Meta, a phrase so summary it means abstraction.
Meta is Greek for “past”; “über” is German for “above.” The lesson appears unmistakable. The brand new übercorporations are above and past us finite mortals. They’ve left us within the mud.
We’re a great distance from the Nineties, when firms love-bombed us with cartoonish design, affable interfaces and goofball names like Yahoo and Google. The goofiness inspired the tech-reluctant to affix the dance.
Wanting again in any respect these O’s — elongated to max cuteness as Yahooooo! and Goooooogle — you’d by no means have predicted the dominion of the X.
“X is an thrilling letter,” the artist Martin Grasser, who co-designed the Twitter hen in 2012, informed me Tuesday.
I had referred to as him to reward his gloriously user-friendly hen. However then I requested him in regards to the letter X.
“It has a extreme type,” he stated. “It’s angular and diagonal.”
Against this, the hen he created with fellow designers Angy Chu and Todd Waterbury was made out of circles, balanced, round-bellied and uptilted. On Sunday Grasser tweeted — he xeeted? — that it was meant to be “legible at very small sizes, nearly like a lowercase ‘e.’
However to Grasser, a typeface obsessive, his hen shouldn’t be the suitable brand for the brand new firm. Elon Musk’s firm, in any case, is clearly not cute or optimistic or uptilted. The identify X and a extreme, black brand are extra apt for no matter baffling and galactic storm-trooping Musk desires to do along with his interplanetary empire.
The present X brand is derived from an present character set. The designer Michael Bierut informed me that, whereas most Xs are drawn to be barely thicker on the backside than the highest, to provide a way of solidity, the present Twitter X shouldn’t be made this manner. Maybe that’s why it seems a bit teetery to my eye, like a folding chair that’s about to break down.
I ran this by Grasser. “The optical correction that happens on the middle of an X — there are refined shifts you want to make it really feel balanced,” he stated. “For those who simply draw two strains that cross one another it will probably really feel unbalanced.”
Jack Dorsey, Twitter co-founder, just lately xeeted a goat emoji at Grasser, whose thread about designing the hen brand went viral this week. Grasser’s hen is certainly the GOAT. It’s a reminder of the Nineties promise of the web — that a lot hypertext would result in serendipitous connections, significant collaborations and complete new fields of human endeavor.
However the beliefs of collaboration and co-invention — sharing and caring — abandoned Large Tech a while in the past. At present a pantheon of overmen have consolidated an oligopoly and intentionally styled it as authoritarian. Reasonably than attracting our eyeballs, the oligarchs appear to wish to poke them out.
So whereas the brand new identify and brand could also be true to the rapacious and even inhumane plans Musk has for his firm, the X has additionally sterilized the mission.
“The letter X is a negation,” Bierut informed me.
No kidding. To me, the negativity of the brand new model precisely fashions the form of spiteful interplay — bereft of humor, edged with despair — that good design ought to endeavor to discourage in social media.
Ever since Grasser, who co-founded the branding firm Studio Mococo in 2016, posted about how he designed the hen, he’s been barraged with expressions of grief for the hopeful spirit his brand represented. I requested him why he thinks individuals are so moved by the hen’s retirement.
“It has a lot to do with familiarity,” Grasser stated. “It’s like when the tree on the nook goes down within the neighborhood. Rapidly, you end up a bit bit unhappy and also you don’t know why.”
Virginia Heffernan is a daily contributor to Wired, the writer of “Magic and Loss: The Web as Artwork” and a podcast host. @page88
