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Two more 27.0 design grumbles

from anderegg.ca [alt+shift+b] in technology

After living with Apple’s 27.0 OSs since launch, I have some more annoyances to get off my chest. This time, it’s all about how tabs and menus have gotten worse. I’ve already ranted about the Liquid Glass material in general, but these two design changes in particular have really been grinding my gears. I’ll reiterate that Apple’s latest OSs look substantially nicer to me than the previous set… but that only makes these setbacks more glaring. Also, many of these issues aren’t nearly as bad in light mode — but I use dark mode exclusively on all platforms. Apple offers this appearance setting, so I think it’s fair to criticize them when it’s not holding up. First up, let’s talk tab bars. I think these looked awful in the original Liquid Glass redesign, and in 27.0 they look even worse. Below is an example of three tab bars from Safari in macOS. All of them are in dark mode. The top example is from macOS 26 with the “clear” Liquid Glass setting, the middle is macOS 27 with the default (mid-slider) version of Liquid Glass, and the bottom is macOS 27 with Liquid Glass at its most tinted. In each, the middle tab is selected (though I think the word “tab” is being quite generous to these globs). In macOS 26, there was practically no difference between the clear and tinted versions of tabs. Similarly, the clearest and default/middle tabs in macOS 27 are effectively the same. Because of this, I’m leaving out the redundant examples. Even though I still think it’s ugly, I vastly prefer the macOS 26 version of these three options. It offers the most contrast, and it makes more sense in dark mode: the background is darker and the foreground of the active tab is lighter. The middle example is what tabs look like in the default (mid-slider) version of Liquid Glass in macOS 27. There’s now only a very faint outline around the active tab, and practically no difference in background colours. To me, this is unreasonably subtle. The effect is even worse when there are a lot of tabs...
3 hours ago

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The Talk Show Timeline

I really enjoy John Gruber’s podcast The Talk Show. However, I’ve noticed that it’s been a while since it was in my feed. I decided to chart previous episode dates to check some of my assumptions about release frequency. Cutting to the chase, here’s a link to The Talk Show Timeline. You can click/tap on days to get a pinned tooltip, which lets you link out to a particular day’s episode. I’ve tried to make this work well on mobile devices, but you’ll likely find it works best on desktop. A note about this: Gruber has mentioned in the past that there has been a personal situation that he’s been working through. He’s also mentioned something to this effect on the podcast at points, but hasn’t gone into detail. I don’t need to know more than has been said, and I just hope things are alright. I’ve read Gruber’s site since 2002 1 and listened to his podcasts since 2007. In that time, I’ve learned that he operates on his own timeline… and has a penchant for procrastination. No shade here! He’s set himself up with a work situation that I envy. I also don’t want to seem grumpy about the lack of podcast episodes; I’m just trying to understand how this current break compares to those in the past. Because it was easiest, and because it would answer my immediate questions, I only looked at the current iteration of The Talk Show. Happily, there’s a single page which lists all the episodes. It had a tiny bit of data weirdness, 2 but I was able to turn this into a JSON file with the details I cared about. With that, I used the calendar heatmap chart in Apache ECharts to display the episodes over time. Some things I noticed: While it’s been a while (29 days) since the last episode (on August 10), this isn’t unheard of. The average is about 12 days between episodes, but there have been 6 other times when the episode gap has been at least this long. The longest gap was 62 days between December 24, 2024 and February 24, 2025. There’s exactly one day with two episodes: July 19, 2014. It was “Cat Pictures” with Marco Arment, which got split into two “sides”. Here’s a link to side 1, and here’s side 2. I mentioned procrastination: 73% of episodes take place on the 16th of a month or later. 28% of episodes take place on either the last or second-last day of the month. Again, no shade! It’s something I chuckle about whenever I notice it. At the current rate, this year is about in line with output going back to 2023. While it has been a while since a new episode dropped, it’s not out of whack statistically. Anyway, this was a Labour Day project that was mostly for my own amusement. I expect there will likely be a new episode of The Talk Show some time fairly soon after tomorrow’s Apple event. I also don’t know if I’ll keep this chart up to date… though it’s not terribly onerous to do now, so who knows. I found Daring Fireball because I was researching the purchase of my first Mac around this time. It wasn’t until October of 2002, but I ended up buying one of the machines he wrote about in his first post that August. ↩ The following dates don’t match the main format: Sunday 30 November, 2025 Mon, 24 Feb 2020 16:05:34 EDT Tuesday 31 December 2019 Tuesday, June 25 2019 Sat, 16 Mar 2019 19:43:49 EDT Wednesday 31 December 2014 Monday, 30 Jun 2014 ↩

3 weeks ago • 1 votes
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9th Aug 2026 • 1 votes
An infuriating goodbye to Photoshop

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Something that got stuck somewhere, maybe. I’m a developer, so maybe my tooling was interfering with something? Only: every time I ran into an issue, I’d see dozens of people complaining about the same thing on the Adobe support forums. It really felt like Photoshop and the Creative Cloud app had grown into blobs of pain that Adobe no longer knew how to properly maintain. As this was happening, Apple had released their Creator Studio service. For the same price as my Creative Cloud Photography plan, I could get an updated version of Pixelmator Pro, plus a bunch of other great apps. I’ve since signed up and haven’t looked back. But Adobe wasn’t done with me yet. It turned out that my subscription, which had been going since 2013, was on an “Annual Paid Monthly” plan. Even though I was getting billed monthly, I couldn’t actually cancel any time I wanted. I had sort of remembered this being a thing when I signed up, but had long since forgotten about it. 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Again, it’s quite possible that there’s something weird going on with my machine or my installation… but I swear I never did anything but use the Creative Cloud app to manage things. I expect Adobe to be able to clean up their mess if they’re going to install files all over the friggin’ place. Anyway, all this said, I’m still slightly sad to be rid of Photoshop. Pixelmator Pro suits my current needs, but there are definitely things I will miss from Photoshop. Pixelmator Pro’s UI is a bit of a Liquid Glass nightmare, but it’s a massive improvement in terms of software quality. I’m extremely happy that it doesn’t strew zillions of files across my computer. I’m also pretty certain it will be much easier to unsubscribe from if I decide to do so in the future. So long, Photoshop. I’ll remember the old days fondly, but you are well past your prime.

12th Jul 2026 • 2 votes
Thoughts ahead of WWDC 2026

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7th Jun 2026 • 2 votes

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The Idea Factory

My mail, WhatsApp and Signal now live in one app I built myself. I called it Contact. It is not a chat app and not an AI app, it sits somewhere in between. When I tried to draw what it is in my notebook, a factory came out. This post explains that drawing, starting with a puzzle. A puzzle for the class At Jurre's school the day starts with a "binnenkomer", a small opening activity, and every child takes a turn. The message that it was his turn next came in through the WhatsApp group of his class. So one evening Jurre sat down and made his own: nine dots, and a rule. "Je moet elk stipje in een eigen vakje hebben, maar je mag maar twee vierkanten tekenen." Every dot in its own box, but you may only draw two squares. Jurre's puzzle: the rule on top, nine dots, and one of the solutions He wanted copies, a clean one for everybody. I took a photo, which lands in my own photo library at home within seconds. In Contact I opened a session and typed what I wanted: take the latest photo, make a printable page with the text and the empty puzzle, without the solution, and print it. One page first. The agent did not know where the printer was. It scanned the network, found a Canon that was asleep, told me so, and waited until I switched it on. Along the way it found the original message from the class group in Contact's own WhatsApp archive, so it knew what the page was for. The session in Contact: the agent looks for the printer, I tell it what to make Printing, on a printer that nobody had set up for this The first page came out faded, one cartridge was nearly empty. The agent found a print mode that still gave deep black, and then the copies came out. Within the hour there was a stack on the table: the empty square, the nine dots, the rule in a proper font. The next morning Jurre took them to his class. The result: the puzzle without the solution, ready to hand out in class That small evening has everything in it. Someone has an idea. It comes in, somebody decides it matters, a machine with enough context and energy turns it into a thing, and the thing goes back to the people. That is the factory. The drawing The drawing from my notebook: people, ideas, triage, the machine with its chimney, and the long arrow back On the left: people. They have ideas, and those come in every shape: a mail, a WhatsApp, a voice message, a screenshot, a sketch on a sheet of paper. Then triage, the funnel. Not everything needs me, and not everything needs me now. Contact reads everything that comes in on the machine in the homelab: my own hardware, boring Debian, offline. It sorts what needs me from what can wait, and groups messages into conversations per person or per topic, whatever app they came from. Fewer apps, less fiddling, but more context and more control. Contact on the laptop, here with sample data: what needs me, drafts, and a conversation with a draft reply waiting Then the machine itself: creation plus context. A session is an agent working on one thing, started from a conversation with one tap. What makes it good is not the model, it is the context it gets. My notes and rules. Every log line of all my apps and computers, well over a million signals a day. The photo library. Customer files and documented source code. The conversation it came from. The machine knows where it stands before it starts. On top sits the chimney: energy, in tokens, compute and memory. This is the part that is new. Context used to be a pile of documents. With enough energy it becomes fluid, you can shape it. Ask it, rewrite it, turn it into a page, a prototype or a print. The chimney, measured: tokens per model I will be honest about the chimney. Some weeks we burn millions of tokens on a single feature, and I do not always know if it was worth it. Let the record show that I spare no cost or effort to chase software feel. But a factory with a chimney and no meter is something to keep an eye on. Out of the machine come artifacts: a draft reply, a preview page, a prototype, a printed puzzle, a website, a game. Nora wanted a game too. She drew a rainbow and told me about a unicorn on a skateboard collecting colours in a fluffy world of clouds, and that became the game. Same factory, different input. Nora's input for her game: a rainbow, clouds and colours to collect Nora playing the game that came out of her drawing Another product of the same factory: the music app, native on iOS and on Android And then the long arrow at the bottom: feedback. Ideas, artifacts and products go back to the people. A draft reply goes back to the customer, after I read it and approve it on my phone; Contact never sends anything by itself. The puzzle went back to the class. What people say about it comes in again on the left, and the loop closes. Not a chat app, not an AI app There are apps for people: Teams, Slack, WhatsApp. There are apps for AI. Contact is neither. It sits between them, on them and in them, at the crossing of people and machine. It is made for making things, and for learning while you do. When it works I hardly notice it: a message comes in, a session picks it up, a draft is waiting when I look. It runs as a native app on the iPhone, the Vision Pro and the laptop, all sharing one idea of what a conversation and a session are. On the Vision Pro the sessions float next to each other, a very nice way to watch several streams of work at once. On the iPhone it is with me all day. A few weeks ago I wrote about making my own Android; that taught me how far you get without touching the operating system, if you own the data, the screens and the concept. Contact is what came out of that lesson. The hardest word When making is cheap and fast, the difficult part is saying no. At one point I asked for my lock screen to show the state of the factory: what waits for me, which session has a question. It was built, I tested it on my phone in the evening, and it worked. I looked at it and decided it was not useful to me. Back to plain notifications, the same evening, nothing left behind. The lock screen experiment: built, tested, and switched off again the same evening My personal reflection helps here. Writing in the notebook makes my norms visible: privacy, the feel of software, and the rule "das Beste oder nichts". That rule leads to "no" quite often. A not-doing choice is a real choice, and now that almost anything can be made, it may be the most important one. Conclusion Contact is a small factory. People and their ideas go in, triage decides what matters, a machine with context and energy makes something, and it goes back to the people. The trick is not the model, it is the context. And the courage to throw away what you made when it is not good enough. So if your inbox feels like a pile of messages, maybe it is a pile of ideas waiting for a factory.

21 hours ago • 1 votes
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