Hannah Murphy, reporting for the Financial Times (paywalled, but Ars Technica has a no-paywall syndicated copy):

The company recently began prioritising a Zuckerberg AI character, three of the people said.

The Meta chief is personally involved in training and testing his animated AI, which could offer conversation and feedback to employees, according to one person. They added that the character is being trained on the billionaire’s mannerisms, tone and publicly available statements, as well as his own recent thinking on company strategies, so that employees might feel more connected to the founder through interactions with it.

This is so straight out of every dystopian sci-fi film about an evil corporation that it’s hard to believe.

Top comment on Hacker News, from “flibbityflob”:

How will a machine ever replace his famous warmth or empathy?

My thanks to Typotheque for sponsoring last week at DF to promote Zed, their incredible new font superfamily. Zed is a type system that was developed with one question in mind: what do readers actually need? Not what looks good in a type specimen, but what works for the widest possible range of readers. Typotheque tested Zed with visually impaired patients at a French ophthalmology hospital and found that Zed Text outperformed Helvetica in terms of reading speed across all patient groups. Designed from scratch to perform different functions, it comes in two optical versions — Text and Display — with four variable axes and support for 547 languages, including endangered ones.

Zed is extremely practical, both in terms of its extraordinarily broad language support and the stylistic variations available via its adjustable width, weight, roundness, and slant. It even offers Braille characters and an icon font. But Zed is also simply beautiful. It’s a font family and type system that exemplifies the belief that rich accessibility and pure aesthetic appeal are not at odds.

When you purchase a license for Zed, you’re buying it directly from the designers. It’s just lovely, and you should check it out. (Don’t miss the short introductory video, either.)

The New York Times:

In a surprisingly early and gracious concession speech in Budapest, Mr. Orban congratulated the opposition saying, “The responsibility and opportunity to govern were not given to us.” But, he also made a vow: “We are not giving up. Never, never, never.”

His defeat paves the way for Peter Magyar, a former Orban loyalist and the leader of the main opposition party, to take over as Hungary’s prime minister once the newly elected Parliament meets.

Political Wire:

Orban said the “election results, although not complete, are understandable and clear. They are painful for us but unequivocal.”

There we have it: Viktor Orban — a MAGA star and general anti-democratic corrupt dirtbag — is a better and bigger man than Donald Trump, who still refuses to concede the 2020 election that he unequivocally lost to Joe Biden.

More vintage graphic-design weekend fun — this time, a collection of Milwaukee bus tickets from the late 1940s to early 1950s, collected on the Present & Correct blog. So much variety in the colors and typography, but yet they all feel branded together. Think about the care and thought here. Whoever was making these was designing one for each week, every week — and it’s so clear they loved making them. Even something as mundane as weekly bus passes can be exuberant expressions of fun.

(Via Ian K. Rogers, who particularly notes the tickets’ integration of hand-lettering with typefaces.)

Some graphic design fun for the weekend: achingly gorgeous art pieces recreating vintage Pan Am luggage tags, by Ella Freire. I love them all. The colors, the type, the shapes — sublime.

(Via Dan Cederholm’s Studio Notes.)