Warner Bros revealed a new Animation logo at Annecy that swaps its glossy finish for a flat, hand-drawn look with Tweety Pie flying beside the WB shield. The short reveal animation shows the classic gold emblem transforming into a matte sketch design as the water tower shifts color. It’s a deliberate nod to traditional animation amid today’s CGI-heavy trends.

• Warner Bros Animation unveiled a new logo at Annecy, replacing its glossy 3D shield with a flat, hand-drawn matte design featuring Tweety Pie flying beside it.
• The reveal animation shows the water tower being hand-sketched in ink before color fills in, then morphs from the old gold logo into the new muted design.
• The redesign signals a deliberate return to traditional, cel-style animation roots amid the industry's current CGI-heavy trends.
• The rebrand coincides with an upcoming slate built on legacy IP like Tom & Jerry, ThunderCats, Meerkats, and The Cat in the Hat.

This newsletter covers Warner Bros.’ new flat, hand-drawn animation logo reveal and reports that Apple’s foldable iPhone Ultra hinge issues are solved ahead of a September launch. It also introduces Adobe’s node-based Firefly Graph AI workflow tool and features critical takes on design systems, career strategy, enterprise AI tools and agentic experience design.

• Apple has reportedly fixed the 3D-printed hinge noise/tolerance issues on the foldable iPhone Ultra, with test production underway ahead of a September launch.
• Adobe's new Firefly Graph is a node-based workflow tool with 300+ node types chaining AI tasks (generation, background removal, upscaling) across Adobe, Google, OpenAI, and third-party services.
• Warner Bros. Animation switched to a flat, hand-drawn logo (WB shield with Tweety) as a deliberate rejection of slick CGI reveals, timed ahead of its 2026–2028 slate.
• A recurring critique across design pieces: AI should stay confined to generating options and checking conformance between human-controlled approval gates, not own decisions—whether in agentic design systems, enterprise tools like Claude Design, or documentation.

The article organizes animation patterns into categories—appearance, coordination, transforms, transitions, scrolling, interaction, easing, physics, loops, details, performance, and guiding principles—and defines each one. It’s a quick reference for naming and specifying UI animations when prompting AI or writing design documentation.

• Naming animation patterns precisely lets you communicate exact intent to an AI instead of vague descriptions
• The article functions as a reference glossary spanning appearance, motion, scroll, interaction, easing, physics, loops, and micro-detail effects
• Performance is a hard constraint: animations need 60fps baseline (120fps on fast screens) and must avoid jank from dropped frames

The author explains how to turn design decisions—like initial scale, easing, and typography rules—into explicit “skill files” that coding agents can follow. By articulating why certain animations feel natural, you guide AI agents to produce consistent, high-quality results. He demonstrates using Anthropic’s skill-creator and Claude Code, and shares a public skill package.

• Coding agents produce mediocre visual/animation work because they lack a trained eye, but this can be fixed by encoding design taste into explicit "skill files" with concrete rules instead of vague preferences
• Concrete example: starting animations at scale(0.85) instead of scale(0) creates natural-feeling growth versus jarring pop-in—showing how gut-feel taste can become codified logic (same applies to easing curves via decision trees)
• Using Anthropic's skill-creator, Claude Code can review existing animations against these rules and output specific violations plus before-and-after code fixes
• All these rules are packaged into an installable skill via `npx skills add emilkowalski/skill`

GBOY rolled out Animate on gboyspecial.com, letting users convert static images into videos in seconds. It shifts animation production from studios to the community and links video assets to GBOY token holders.

• GBOY launched "Animate" on gboyspecial.com, turning static images into videos in seconds using the same AI tools their in-house designers use
• The community has already generated over 130,000 character-consistent assets, producing 90% of the brand's visuals
• The model ties $GBOY token ownership to a stake in a user-driven production pipeline rather than just NFT ownership or price speculation

Zoomquilt is a collaborative infinitely zooming painting project initiated by Nikolaus Baumgarten in 2004, featuring contributions from various illustrators. Inspired by earlier collaborative art projects, it creates a seamless animated experience that allows viewers to explore an ever-expanding visual landscape. The project has evolved over the years, leading to sequels and new creations like Infinite Flowers.

• Zoomquilt is a collaborative infinitely zooming painting started by Nikolaus Baumgarten in 2004, with contributions from multiple illustrators.
• It works by seamlessly blending separate artworks into a continuous animated zoom, creating an endless visual journey.
• The project drew inspiration from earlier collaborative art efforts.
• It has spawned sequels and related projects, such as Infinite Flowers.