AI-generated artwork is the same as a gallery of rock faces. It is pareidolia, an illusion of art, and if culture falls for that illusion we will lose something irreplaceable. We will lose art as an act of communication, and with it, the special place of consciousness in the production of the beautiful.
…Just as how something being either an original Da Vinci or a forgery does matter, even if side-by-side you couldn’t tell them apart, so too with two paintings, one made by a human and the other by an AI. Even if no one could tell them apart, one lacks all intentionality. It is a forgery, not of a specific work of art, but of the meaning behind art.
Like a programming language interpreter, GPT-3 translates the designer’s intent from a language they’re already familiar with (English) to one they need to learn (Figma’s information architecture, as manifested in its UI.) This can be easier for a new/busy designer, much like Python is easier and faster to work with than assembly language.
But that’s not “designing” — at least not any more than compiling Python code is “programming.” In both cases, all the system does is translate human intent into a lower level of abstraction. Sure, the process saves time — but the key is getting the intent part right. I’ll be convinced the system is “designing” when it can produce a meaningful output to a directive like “change the product page’s layout to increase conversions.”
The far more pernicious issue with pangrams, as a means for evaluating typefaces, is how poorly they portray what text actually looks like. Every language has a natural distribution of letters, from most to least common, English famously beginning with the E that accounts for one eighth of what we read, and ending with the Z that appears just once every 1,111 letters. Letter frequencies differ by language and by era — the J is ten times more popular in Dutch than English; biblical English unduly favors the H thanks to archaisms like thou and sayeth — but no language behaves the way pangrams do, with their forced distribution of exotics. Seven of the most visually awkward letters, the W, Y, V, K, X, J, and Z, are among the nine rarest in English, but pangrams force them into every sentence, guaranteeing that every paragraph will be riddled with holes. A typeface designer certainly can’t avoid accounting for these unruly characters, but there’s no reason that they should be disproportionately represented when evaluating how a typeface will perform.