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updated 2026-09-10 · only what's live makes this page

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September 2026

The screen goes back to being the presentation's

Stage controls now get out of the way on their own. After a little under three seconds with nobody moving, the topic bar, the self-advance button, the arrows and the signature all fade out and the slide has the screen to itself. Move the mouse, tap, or press any key and they come straight back. It behaves like a video player, for the same reason: while you are presenting, the screen belongs to the content.
They also take up less room while they are visible. The self-advance button lost more than half its footprint and became just the icon, with its name showing on hover; the topic indicator is smaller. The click target did not shrink with it — it actually grew, and now clears the minimum size this house requires for touch.
Keyboard users are not penalised. If your focus is on a control, it stays put while you are there, and it remains reachable by Tab even when everything else has faded.
New template in the catalogue: FROSTED GLASS. Deep blue, translucent tone-on-tone cards, and an oversized title passing behind them. The card's frame is not a drawn border: it is light caught on the top and left corner, with a hairline shadow just outside it that makes the edge read as actual glass.
Two new card finishes, both deliberately quiet. Shadow lets the piece settle without drawing attention; Breath adds a soft glow around it in your theme's live colour. Both follow the light direction your theme already declares, so the shadow and the glow never point different ways.

September 2026

A green that is ground, and a blue that had stopped existing

New template in the catalogue: PATRIMONY. Deep green, a classical serif, and old gold used exactly once, on the closing screen — the language of a commercial proposal from a firm that sells trust rather than novelty. It is the first template here that did not come from a loose reference: it came from a brand system already written down, and every measurement in it enforces a rule from that system.
It ships with the ruler, not just the look. The ratio between the number and the copy, the minimum empty space, the hairline that punctuates instead of dividing, and the decision that emphasis is never carried by colour — none of that is the taste of whoever built the first deck. It stays with the template, so the slide you write next comes out in the same language.
A twelve-part commercial proposal, ready to fill in. It includes the four parts most proposals leave out, and they are the ones that change the conversation: the answer on screen two, what happens if nothing changes, who is accountable by name and how fast, and proof you can actually check. Without the third one, your price gets compared against zero and always looks expensive.
A fix that reaches everyone: the highlight card in metric grids was painting with a blue from Pínax's previous brand, retired a month ago. Nobody spotted it in blue decks, because the new colour sits right next to the old one. In a deck of any other colour it came out pulling towards a blue that had nothing to do with the presentation. It now follows your deck's colour.
And the sign-here invitation on the closing slide is readable again. Its heading was rendering almost black against its own dark panel — a card floating above the stage was reading the website's colours instead of the presentation's. This applies to any proposal shared by link.

September 2026

A word behind the glass, and objects that start illustrating

New template in the catalogue: FROSTED GLASS. Blue-grey tone on tone, translucent cards and clay objects — product, design systems, any material that needs to be calm without being washed out.
New effect: a word set huge behind the cards, dissolved by the glass on top. This is not a heading at low opacity: the text stays whole behind them, and the material decides how much of it you see — the part that falls in a gap between two cards stays sharp, the part under a card turns to mist. It lives under Background text in the editor and works on any slide type.
And it tells you when it will not work. With no glass above it, the text sits whole behind opaque cards and you get a heading covered halfway — the platform says so instead of letting you find out on screen.
The 3D objects on cards gained a POSITION. In the corner they sign the card, as they always did. In the centre they change role: they become the illustration of the idea, take up a third of the height, and the text arranges itself around them — the feature card with no number, which until now forced you to invent a metric. With three water lines beneath, the object’s floor without a hard shadow.
Cards gained the RIM: only the top and left corner lit, fading out the other way, like light catching the edge of a pane of glass.
And an old fix: a uniform grid with four cards left one alone on a second row at twice the height of the others. A grid that orphans a card is not uniform — with four cards it is now two by two.

September 2026

Whoever writes the slides now knows who they are writing for

When you say how much freedom Pínax has with your text — from “word for word, don’t touch it” to “use it as raw material” — that answer now reaches the stage that writes the sentences. It used to go only to the stage that plans the outline: the rule about not rewriting your words never reached the step that rewrites words. It is the change you feel most if you already hand over finished copy.
And it stopped being a question that almost never came up. The question queue is ordered by how many decisions each answer changes; because that answer now changes more, it moved up and gets asked right after the goal and the setting.
Who will be watching, how well that room already knows the subject, and the pushback you expect now reach the writer too. If the room knows the subject, technical terms arrive unglossed; if they are new to it, they arrive explained. Until now, your answer about the audience’s level only helped suggest a theme.
And what worked comes back into the reasoning. When you record how a presentation ended, Pínax uses that when proposing the next one — as a tiebreaker between two equally good paths, never as an automatic choice, and only once enough presentations have been decided for it to mean anything.
None of this invents context: without your answers, Pínax writes exactly as before. An assumed audience would be worse than none.

September 2026

Lit elements now light up what surrounds them

New composition: the TITLE BESIDE the drawing. Some charts are square by nature — scope layers, nested circles, pie, gauge, sonar. Stacked under a heading on a 16:9 screen they are capped by height and the leftover width sits empty on both sides: we measured one of them using 34% of the width with 86% available. Put the heading in a left-hand column and the drawing gets the full height, growing about a fifth on each axis. The control lives under Composition in the editor.
And it only shows up where it helps. On a wide drawing — a timeline, spheres in a row, bars — a text column would take width from something already using the whole screen, so the control is replaced by the reason, spelled out. In this composition the heading can also run several lines at no cost, because the chart height no longer comes from whatever is left below it.
The dot matrix was being drawn smaller than it could be. Its box was as wide as the screen while the drawing used barely half of it, and the rest was reserved empty space — so the chart shrank to fit an area it never used. The box now hugs the drawing, and it came out 8% larger on both axes with no change to the data.
Lists inside the layers slide are no longer clipped. A column with four long items ran past the bottom of the figure and the last one vanished, with no ellipsis and no warning. The column now has a ceiling and a floor: when there is a lot of text, spacing and type size give way together until everything fits.
Light elements gained an ambient. A circle, a sphere or a beam that was lit used to stop at a hard edge against the black, and the screen read like a cutout pasted on the background. Now they lift the ground around them, and the light carries about half a radius past the edge before it meets the dark. That is the difference between a painted object and a lit one, and it shows on every dark screen of the Emerald Aurora.
The light beam now spills on both sides. It had a wide ambient above and almost none below, which made the bottom half of the slide look clipped. The step from core to dark is now a three-stage ramp, the same on either side, and the ground is back to black before it reaches the footer.
The three chained circles sit properly inside their capsule. The clearance used to be tight at the top and wide at the bottom, leaving an empty band under the drawing. It is now identical on all four sides, so the capsule ends trace exactly the curve of the first and last circle — three shapes that touch by accident became one figure.
And they lost their outline. With no stroke, what you see is each one’s light adding up where they overlap, which is the whole point of a chain. The classic diagram keeps its outline, because there the outline is the figure.
Charts got back the height the second title line was taking. In Emerald Aurora decks a heading of up to forty characters now stays on one line, and the drawing under it went from 62% to 68% of the screen. Longer headings still wrap, as before.

September 2026

The spheres are the right size again, and the figures beside them stopped eating the slide

Proportion spheres got bigger. They had been drawing almost a quarter smaller than the composition calls for — a subtle, expensive gap: the slide read as less finished and nothing told you why. The relationship between them is unchanged (area still tracks value); what changed is the scale of the whole group. Decks already using this slide will show larger spheres.
Their overlap now follows their size. It used to be a fixed distance, so changing the values threw the composition off and the larger spheres could swallow each other. It is now derived from the diameters, so the three keep touching by the same amount whatever the numbers say.
New choice: WHERE the reading figures sit next to a chart. In a column, as before, the drawing gives up a third of its width to them. Over the edge, they rest on the empty part of the figure and the drawing keeps the full slide. The difference is not small — with the column, a three-part drawing could break onto a second line. Use it where there is empty space under the figure; on a pie or a bar chart the number would land on the data, and the column is still the right answer there.
Pick a template from the catalogue and ask the chat for a NEW slide, and it now comes out in that template’s language. Until now the template handed you a finished copy, and whoever wrote the next slide had no idea what language they were writing in — and the next slide is exactly where a deck loses its look. Each template’s composition rules, with the measurements behind them, now travel with the request.
Emerald Aurora was rebuilt against its reference, and the most visible change is the GROUND: the dark slides used to be a deep green and are now black, with green coming only from where there is light. That is the difference between a deck washed in green and a deck that is black with light inside it. If you already use this template, expect more neutral dark slides and brighter, more present lit elements.
The light beam now spills: it stops being a flat wedge and lights what surrounds it, the way a real beam does. The depth funnel gained volume, a mouth three times thicker, and a glow on the floor beneath it. The layer stack now has thin plates with far more air between them.
Proportion spheres can now be drawn as a RAMP: instead of one coloured sphere among grey ones, all three carry the same colour at different strengths. It changes what the slide says — from “look at this one” to “this is a scale”. Use it when the values are parts of one total.
The status card is darker and quieter: on a light ground a brand object carries by mass, not by saturation — and it is the dark body that lets the deadline block stand out by changing hue rather than just tone.
And the “made with PÍNAX” badge on public links moved off the content: it was covering the first word of the caption on any slide that had one. It now sits in the footer strip with the rest of the controls.
A new drawing for proportion spheres: LIGHT. Instead of bodies with highlight and shadow, translucent discs that add where they overlap — the shared area gets brighter, the way two beams do. Inside it there is a progression: the smallest is a pale, near-opaque disc (its figure turns dark on its own), the middle one lets the background through, and the largest becomes a field with no edge. Use it for parts of one total on a dark ground.
A fifth title weight: FAINT. Some material wants a display lighter than the lightest we had, and now it exists — on slides and in the PDF, which carried its own weight list and would have printed heavier than the screen.
Set diagrams gained real depth: the innermost level now genuinely stands out instead of sitting one shade above its neighbour, and the labels became solid ink chips that anchor the line, rather than pale outlines floating on a light ground.

September · 2026

A beam that passes through the mark, three circles that meet in a chain, and a matrix of dots

New background: the BEAM. A single shaft starts at one point and opens until it runs off the opposite edge, with a lit core. There were already three relatives of it and none would do: one is a fan of many thin rays, one is a soft vertical column, the third is a set of shafts falling from the top. That singleness is what lets you put a mark or a number IN the middle of the light.
The intersection diagram gained a second geometry, and it changes what the slide ASSERTS. In the classic one all three sets share a common middle. In a CHAIN each one meets only the next: the first and the third never touch, and that is precisely what the figure says. It suits a sequence (the reading becomes the calculation, the calculation becomes the result), where the classic shape would promise a centre nobody has.
New type: the MATRIX. Dots at the crossings of a lattice, each one’s area proportional to its value. It is the drawing for where intensity gathers: risk, effort against impact, coverage by region. The platform could only compare along one dimension, and both axis labels are deliberately required: without them, position measures nothing.
The scope-layers slide now takes a LIST per level, not just a sentence. Each layer shows what it contains in its own column, wrapped, aligned to its own label.
The status card gained a SECOND band, at the base: the deadline. The top one answers how it stands, the bottom one answers by when. Those are two independent questions, and squeezing both into one band forced you to lose one; in compliance material, the one that got lost was usually the date.
New template in the catalogue, Emerald Aurora: emerald green over alternating black and white, shafts of light and translucent shapes. Built for climate, energy, ESG and sustainability work.

September · 2026

A headline that scatters across the screen, and a photograph that joins the typography

A headline can now SCATTER across the screen: its words land in different places and the photograph passes between them. The sentence stops occupying a block and starts occupying the whole screen. You write the headline once; screen readers still get the sentence whole, and on a phone it stacks itself back up.
The side panel can become a PHOTOGRAPH, with two short words crossing its edge: one at the top, one at the base running off the screen. That is what makes the image join the text rather than sit beside it. The panel text still applies: it is what the phone reading and the PDF show, because a photograph never carries the information on its own.
Two new composition marks: the NUMBERED RULE in the margin (two numerals with a hairline between them, an instrument down the side, the way a technical notebook has one) and the LOOSE + and × MARKS, which point at a deliberate emptiness. In a composition with a lot of breathing room, they are what separates emptiness that was COMPOSED from emptiness left by missing content.
And the INTERVAL: two values at the ends of one line, 1953 … 2026, with no arrow and no rule between them. The empty space in the middle is what states the distance; a rule would fill in exactly the gap that was the message.
All 39 backgrounds now have full fine adjustment, and each shows only the controls IT uses: the frequency of the repeating structure, the tilt, how far the light travels, how hard the edge is, the crease that opens a place for the text. And no existing deck changed appearance: with no adjustment, the drawing is exactly what it was.
New template in the catalogue, Sports Editorial: desaturated white, motion-blurred photography and loose registration marks. Built for launches, brand work and anything about movement.

September · 2026

Backgrounds stopped being buttons and started saying what they are for

A background now has FINE ADJUSTMENT. Until now an effect was a button: switch it on and exactly one look arrives. Anyone who wanted the slats wider, or the light entering from another angle, had to switch effects and lose the language along with it. You can now move the frequency of the repeating structure, the tilt, how far the light travels, how hard the edge is, where its core sits, and the CREASE, which is the depth of the dark void that opens a place for the text.
And only the controls that THAT background actually uses show up. A control that changes nothing is worse than no control at all: you move it, nothing happens, and you believe you decided something.
New background: the VEIL. It is the inverse of every other one: instead of lighting a glow over a dark floor, the whole floor IS the light, fading down to black with a wedge of shadow eating one corner. Built for the opening and closing of brand material.
And on the closing slide the word can now MIX into the background instead of sitting on top of it. The huge farewell line drops its fixed transparency and behaves like light: where the background is bright it appears, where the shadow passes behind it, it disappears on its own. Below it, small and sharp, sits the sentence that actually closes.
For anyone driving Pínax through an AI agent: the element catalogue became READABLE. Backgrounds, section dividers, ornaments, arrangements, surfaces and chrome (71 pieces) stopped being a list of names and now each one states what it ASSERTS on screen, when it serves, when it does NOT, and which kind of presentation it fits (genre, setting, density, stance, format). The agent asks “which background suits a cinematic stage closing?” and gets the right pieces back, each with its reason, instead of picking the first name it recognises.

September · 2026

Cards that stay tilted, a list inside the product window, and a thank-you that is pure atmosphere

A card can now sit STILL at an angle. The platform already knew four ways to tilt a card, and every one of them needed a mouse or a looping animation: and every one vanished in the PDF, on a phone, and on the full-screen stage. Tilt as a POSE survives all three. It is the difference between five cards lined up in a grid and five pieces dropped on a table.
Cards can also leave the grid entirely: in an ARC, laid along an overlapping curve with the headline passing behind them; or in a STACK, piled up and running off the edge like a deck of cards. A stack says “there are many” without asking anyone to read them all.
A cell in the metrics grid takes a small list instead of a number: up to four name-and-value rows, each with an arrow for up or down. It fills the gap between “one number” and “a table”: a short ranking now fits in a cell instead of spending a whole slide.
The status slide can wear a product-window frame and bleed off the bottom of the screen, so the ranking happens INSIDE the product rather than being described beside it. Each row gains an icon, a direction and a unit. And direction is deliberately separate from severity, because a drop can be good news.
The closing slide gained a ghost line: one word set enormous and almost faded, running off both edges behind everything, with the sentence that actually closes sitting small and sharp below it. The giant stays on the retina; the small one carries the next step.
The top rule has a second shape: three fields spread across the full width with a hairline beneath: who signed it, what it covers, the brand. The first field can carry a name instead of a page number: paginating says “this runs N screens”, signing says “this is by so-and-so”.
And a new item in the Elements panel, the EMBLEM: a disc of light with an icon at its centre and an open ring around it, sitting behind the content. It is scenery, and it carries no number by construction: a partial ring with a value inside reads as a gauge, and gauges have their own slide.
New template in the catalogue, Corrugated Light: a backlit field of fine slats, glass cards frozen at an angle, and a provenance rule across the top. Built for case studies, portfolios and product decks in a dark room.

september · 2026

Krisis: the post inside a real iPhone, approved screen by screen, and the story that grows out of the feed

Post approval now happens inside an iPhone drawn like the device itself: the island, the clock, the status bar, the home indicator, and the post fills the width of the screen, just as it does in the app. Whoever approves judges the piece by what surrounds it, and the generic frame we had before never quite answered “this is how it will look”.
Clients now approve SCREEN BY SCREEN. On each carousel card they mark ok or fix; the piece can be approved with the cards that need work flagged as blocked. Those stay locked, everything else moves on. On the board the piece reads “approved · 2 screens blocked” until the owner marks the fix as done. No more sending ten cards back because of one.
The grid gained a second reading: the whole piece in its own proportion, or “as on the profile”: the 3:4 crop Instagram has applied to profile grids since 2025. That's where a title hugging the edge disappears, and now you can see it before publishing.
If a post only has its feed version, one click derives the story: each 4:5 card dressed at 92% of the width over the brand's ground, at 1080×1920, nothing redone. It joins the same piece as the “Story 9:16” tab, in the same viewer, on the same approval link.
And the board card stopped hiding the artwork: the thumbnail now takes most of the card, in the proportion it will be published in, and the state became a quiet stamp.

september · 2026

The plan that says what each step costs, the cover that introduces itself, and a staircase that never climbed

Content-slide titles now follow the weight each theme declares. It sounds like a detail and it is the difference between a deck that looks made and one that looks assembled: until now, switching themes switched the colour and the typeface, and the title weight stayed the same across all thirty-nine. Pick a quieter theme and you get lighter titles, with the force coming from space rather than stroke.
The staircase timeline gained a direction. Climbing, it says growth; descending, it says sequence, and a work plan doesn't grow, it happens in order. The platform now says so when a staircase climbs over a list of tasks, because there the drawing promises a gain the content doesn't have.
Three new homes for the text that travels with a figure: the top rule (the subject on one side, the brand on the other, on one line), the support paragraph to the right of the title, the title asserts, the support situates, and the note beside the chart, which concludes what the drawing shows. The caption underneath stays the place for where the number came from: different jobs, different places.
On a pie, the percentage can live inside the slice. With the number in the legend, reading the chart means bouncing between drawing and list, and the list ends up being the data. With it inside, each slice carries its own value. On very narrow slices the number returns to the legend on its own: nothing is lost.
A work plan rarely has dates. What matters about each step is how long it takes, because that's what the room adds up while you talk. Until now there was only a date field, and typing “2 days” into it worked, and lied, because the field then meant two things at once. Duration now has its own place: a small pill fixed to the step, with an icon opening the line. What it is, and what it costs.
Covers gained a classification strip along the top: what it's about, who it's for, what it was made with, and, set apart on the right, the date. Anyone opening a proposal or a report needs to place it before reading the first sentence, and that row does it in half a second. Written into the subtitle instead, it becomes a sentence full of pipes that nobody can scan.
And two fixes that had been hiding for months. The “staircase” timeline promises each milestone steps up, and it drew all four on the same line, always. The entrance animation wiped the step out as it finished. It climbs now.
The other one showed to your audience rather than to you: in the topic bar of a full-screen presentation, section titles came out with their emphasis markup visible, like raw code. It only happened when the section used the very highlight the platform recommends, so it punished anyone following the rule. Fixed at the source, for every surface that shows a section title.
The template gallery gained its ninth: a dark deck built from a single blue, navy through light, where the number lives inside the bar and the takeaways sit beside the chart without turning into cards. Made for case studies, diagnostics and technical proposals.

august · 2026

The grid that lights only the cell that matters, and pages that number themselves

When a card needed to stand out, the only tool was a halo of light behind it. That works with room to spare; in a tight grid the halo spills over its neighbours and the emphasis turns to blur. There's now a second form: the card's edge lights up and its floor rises a step, like a backlit key. Choosing between them isn't taste: it's density.
And it doesn't pulse, deliberately. On a data screen a pulse is an alarm, and an alarm without cause is the worst signal a report can send.
Slides can number themselves: the “3 /5” in the corner, with the total kept quiet. The number comes from the slide's position in the deck, so reordering fixes itself. Unlike figure numbering, which is still written by hand precisely because a “FIG 02” cited in the text can't change on its own.
Covers gained a signature: photo, name and role of whoever stands behind the material, beside the title. That's different from whoever said a quoted line mid-deck: in a report, the signature is what gives the whole document its provenance.
And we fixed the table's little bar. It's called a micro-bar and it had been filling the full row height, which made the number read as a caption to a chart. It's now a hairline beside the value: it measures without competing.

august · 2026

Some slides now run to the edge, and text can live over the image

Every slide carried the same safe margin. It's right for most, text needs air, but it's a decision of language, not a law: in a photographic presentation the margin turns the scene into a picture hung in the middle of the screen. Now each slide decides. What bleeds is the image and the drawing; the header, footnote and mark stay where they were, because what runs to the edge is the content, not the reading frame.
And text gained a new home: over the scene. It can land on the seam between two frames, or in the lower corner of one, and when it does, the size changes with it. The title goes uppercase and grows to about a seventh of the screen's height; the body shrinks to a short note beside it. This isn't a style tweak: it's the difference between a caption and a title card, and the form changes because the text's role changed.
In mosaics that means a single word can cross the seam between two photographs, the way a film storyboard does. Per-frame captions fall silent on their own when that happens. Two texts over the same photograph compete, and the scene only holds one.

august · 2026

The accent became material: gradient cards, and drawing over the photo

Until now a theme's accent was a detail: the colour of a number, the edge of a card. It became material: the “gradient” surface makes a card born dark with the colour entering from one corner, an iridescent hairline along the edge, and saves the full ramp for the lead card. The difference is the one between a painted object and an object made of the material.
Photos gained a drawing on top: undulating contours, like elevation lines, or a fine instrument grid. It looks like a detail and isn't. It's what separates “a slide with a background photo” from a screen that says there's measurement behind the image. And it had to exist because the house's backgrounds paint BEHIND photography; a line behind a photo doesn't exist.
A slide can become a piece resting on a surface: the photo becomes the page's ground, the content withdraws into a panel with margin on all four sides, and the header moves out to the margin, repeated top and bottom. Available on covers, dividers and closers: on other types the panel would push content those types position themselves, and we'd rather say so than let it happen.
In the mosaic, two frames of equal weight now stack one above the other instead of sitting side by side. Declaring weight is declaring hierarchy; not declaring it is asking for a stack, and the engine now understands that.
We fixed an old defect that only surfaced in the right combination: on any slide with a photo, the page header fell into the content flow and landed on top of the title. It had been that way since the header existed.
And the Expedition theme was repainted. It was born from documentary-cinema references and carried teal with amber; re-reading the three pieces it came from, all five screens are blue and cyan. The amber came from a third-party brand piece that isn't part of the set at all. It's now room-black with electric blue and cyan.

august · 2026

Photos in mosaic, and the continuity that existed with nowhere to switch it on

There were three ways to put photos on a slide and none of them built a scene: the gallery moves its cards, the mockup is a device frame, and free composition asks you to place every piece by hand. The gallery now has a third mode, mosaic: the frames touch, no gap and no rounded corner, in whatever proportion you declare. It's the grammar of a storyboard, and the difference isn't stylistic: the moment the frames gain space between them, they read as separate photos again instead of one scene.
Each frame carries a weight from 1 to 3 (that's what produces the 60/40) and a focal point so the crop doesn't lose what matters. With two rows, the heaviest frame spans both and the others stack beside it at different heights. And it accepts two frames, unlike the other modes that require three: two frames are already a scene, and demanding a third would force you to find a photo the scene doesn't have.
Photos gained a film flare. The horizontal streak over the brightest region, alongside duotone, grain and vignette. It's what makes an image read as a frame of film rather than a photograph.
Supporting paragraphs can run in two columns, like documentary captions. On a narrow screen they fall back to one on their own, because two columns on a phone would give twenty characters a line.
And a fix that had been hidden for months: continuity between slides, where an element travels from one screen to the next, has two forms, stretching (the same data evolving) and turning like a card (the content was replaced). The second never had a control in the editor: it existed only by writing the file by hand, and the intelligence that builds decks on its own didn't know it was there. It's now in the Transitions section, as two questions: what continues, and how it turns.
The Expedition theme was corrected: it carried printer's crop marks on every slide, which say “document proof”: the opposite of what the theme sets out to be. Anyone who wants that frame now asks for it per slide, which is where it always was a decision. There's also a new template, Expedition · documentary cinema.

august · 2026

Text inside a coloured shape now reads: across all 39 themes

When a stage, a bar or a node was filled with the theme's live colour, the text inside it always came out white. That was right for the deep-blue themes it was born in and wrong for every other one: over apricot, lime, gold or sand, white simply vanished. The text colour is now resolved per theme, and what comes out is the one you can read: black on light, light on dark.
And the cause wasn't only the letter's colour: the shape carried a sheen that ran toward white, crossing two different contrast bands, where no single text colour could serve both ends. The sheen now flees the text instead of running toward it. We measured all 39 themes: every one of them failed, and the best sat at 1.99 contrast. Today the worst is 4.61: above the reading floor.
Spheres gained real shadow. The one in front now casts onto the one behind: that shadow is what makes two stacked silhouettes read as two bodies in the same space. The shadow also stopped being black: it comes from the theme's own ground, because pure black over a warm floor reads as a smudge, not as shade.
And there's a new choice beside them: whether the spheres affect the background at all. In “own”, they land on the stage and the stage doesn't change. In “with ground bounce”, the sphere's light hits the floor and returns tinted with its colour. The background comes to know it's there. In “none”, the sphere stays spherical and simply loses its weight, for very light grounds where a shadow would read as grey dirt.
A completeness sweep went through all 42 slide types, comparing what the format allows against what the editor offers. Fifteen fields existed and worked without being declared: they worked by hand and were invisible to the intelligence that builds a deck on its own. Twelve more could only be reached by writing the file by hand. All of them are closed now: among them the rule above the title on section dividers, the prefix and decimal places on the hero number, the odometer, the value on each pie slice, the cited figure with its source on bar charts, the map's footnote, and the closing frame.

august · 2026

A flow is not a funnel, and the platform stopped asking for a number you don't have

To draw four steps of a process, acquisition, referral, revenue, delivery, the only shape on offer was the funnel, and the funnel demanded a number per step. Since there is no number (no step is “bigger” than another), the only way through was to invent one. The funnel now asks first: by value, and it's the funnel you know; or all equal, and it becomes a conveyor of steps. Capsules of the same size, no percentage between them, and the number field simply disappears from the editor.
Bubbles can now overlap. In a row they say “compare these sizes”; overlapping they say “these sets touch”: a different claim about the same data. Up to three, smallest in front so no label goes missing.
Any slide can take a progress bar along the bottom (continuous, or segmented into steps) and a document header along the top: page number, the subject of that screen, and your mark. The header comes from the theme. Switch it on once and the whole deck paginates.
In card grids, each cell gained a pill of its own naming the category it belongs to: what separates a grid of numbers from a grid of named indicators. And emphasis now has two forms: invert the whole card as before, or light only a bar along its right edge, for when one card in four needs weight and inverting it would shout.
The hero number takes an arrow its own size, set beside it in the theme's colour. It says direction only. On a big screen an audience reads the arrow before the number. And quotes gained a category pill, naming what the line is about.
The Damasco theme was corrected: it painted the entire floor apricot when, in the references it came from, apricot is the lit panel in a dark room. Now it is, and the “Real estate · Damasco” template changes ground along with it. There's also a new template, Damasco · warm stage.

august · 2026

Empty space became a control: your cards stopped all looking alike

If every bento grid you built came out wearing the same face, that wasn't your imagination: there was exactly one grid rhythm, and content always stacked the same way inside the card. Two new decisions fix that, both one click away. The grid gained a fifth rhythm. Every cell the same size, where the lead card stands out by colour rather than by being bigger. It's the arrangement for when the reading is “these six, as equals”.
And the content inside a card now picks where to anchor: to the top, to the centre, or to both edges: label up top, number at the bottom, and the empty space in the middle. That last one is what lets a card breathe without shrinking. You don't have to decide at all: the theme you picked already carries its own language, and a slide only overrides it when that particular screen asks for something else.
A card's value can also be a phrase (“cut in half”, “four days, not three weeks”) instead of a number. Tick the box and it wraps across two lines with the right leading, rather than straining to fit a scale built for digits.
The pricing table gained the second grammar that exists out in the world and was missing here: name and price up top, nothing in the middle, and what the client actually gets stated in one right-aligned line at the foot of the card. It's how agencies present scope. As opposed to the item-by-item checklist, which is still there and still the default. Switching between the two erases nothing you've written.
The closing slide gained a channel bar: pills for email, site, phone, chat or address, saying where the conversation continues. Plus a new background, Shatter: cracked glass spreading from one corner, its edges lit in your theme's colour.
Cards also choose how they SIT on the screen. The Raised surface is the exact opposite of Pressed: instead of sinking into the material, the card floats above a light ground on a long shadow, with a thread of light along its top edge. The difference between a card drawn onto the slide and a card resting on it. Both now appear in the surfaces row alongside Paper, Glass, Faded and Lit.
A slide can take a media band across the top: a rounded image filling the upper third, with the content beginning below it. It's filled by any background in the library, nothing to upload, and the height is yours.
In the bar chart, the last column can be declared a PROJECTION: it stops being a measured block and becomes a field of light running off the edge of the slide. That's honesty rendered as shape: the year that hasn't happened yet stops looking like recorded fact. The same chart now also takes a quotation with the number set inside the sentence and the source named underneath.
The timeline gained a Rail layout: a column of dots down the left with the current step in a filled disc. It answers where you are, which is a different question from when things happened, and it hands the rest of the slide back to the content of that step.
The closing slide gained two more things: a pill button with a coloured tile naming the next step, and two short words anchored in the top corners, framing the call.
Plus a new background, Arc: enormous hairline circles crossing the slide, barely visible. It's the only one in this family that doesn't fight running text. It gives a composition an axis without competing with it.
All of it ships in a new catalogue template, Fenda · techno: a light ground with cards resting on it and the dark entering as emphasis, for a bold launch or a proposal that would rather not look like one.

august · 2026

Every theme now has a material of its own: plus three new stage elements

All 39 themes now declare what they are physically made of. Dark themes lift their panels with light. The hero glows instead of casting a black shadow that would vanish anyway. Light themes rest with the short, warm shadow of paper on a desk. And the themes whose language is deliberately flat, the Swiss, the poster, the dossier, stay perfectly flat, by written decision. Glass only exists where glass is the theme's native language, and there it became real glass: a translucent body, an edge that lights up where the light enters, and true refraction of whatever sits behind it on the live stage.
Three new elements, all fully editable: the KPI board accepts a column-hero arrangement (the headline number becomes a tall card on the left, the readings form a grid on the right, each curve carrying its glowing delta in the free corner); the mind map gained an orbital layout (sources become glass chips riding elliptical light tracks around the center: where the 3D object can reign); and the 3D object gained the lamellas shape, the corrugated metallic ribbon of deep-tech decks.
Everything inherits through the same chain as always: your brand overrides the theme, your per-slide choice overrides both. No existing deck changes structure. It simply receives the physics its theme had been promising all along.

october · 2026

The form on your public link, which nobody could fill in, now responds

When someone opened your deck to leave contact info or answer a question, the fields showed up on screen, but took no click, no tap, no keystroke. The form's entrance animation froze on its first frame, and it sat there, in practice, frozen behind itself. Nothing warned you: it looked like an ordinary form until someone tried to use it.
It responds for real now: every field takes the right kind of touch and keyboard for its question type, required fields speak up when skipped, and the thank-you screen shows at the end.
If you already sent a public link or a PDF with a form before this fix, whoever opens it next will see the difference: nothing to resend on your end.

october · 2026

The audience QR is now within reach from wherever you are

Mid-talk you can put a QR on the big screen that opens the same deck on your audience's phones. To follow along, ask a question, take the material home. It already worked, but only one button could light it: the one in the presenter console. Present from a laptop wired to a projector, with no second screen, and you simply couldn't call it.
It has three doors now. On stage, the Q key turns it on and off (and the button sits in the top bar with the key printed beside it). On the phone you're using as a clicker, there's a thumb-sized button. The console works exactly as before.
All three read the same state: hit the key and the clicker's button already knows. No two controls disagreeing in the middle of a sentence.
And when a deck has no public link yet, the control doesn't vanish: it stays put and says why, with the way to fix it. It used to disappear, taking with it any hint that the feature existed.
In the editor, the same panel where you switch the Companion on now shows the QR: point your camera and see, before the meeting, exactly what the room will see.

october · 2026

The editor stopped losing your last move

Switching a slide's visual, list to chart, hero number to section divider, switches the content too: what you wrote for the old shape doesn't fit the new one. That still happens, but the editor now SAYS SO. It names what left and reminds you that Ctrl+Z brings all of it back, instead of swapping in silence and letting you find out from the stage.
We deliberately did not add an "are you sure?". The swap always had undo. A question on every click would charge everyone a step to guard against something that was already reversible, and would teach people to hit "yes" without reading.
The second loss was quieter: autosave waits a beat after your last keystroke, and closing the tab inside that beat cancelled the save with no warning. Now the browser asks before you go, and ONLY inside that beat. With everything saved, you leave with no prompt at all, exactly as before.

october · 2026

The PDF now prints what the screen shows

Three things got lost between the stage and the file you send a client, and all three were invisible to whoever generated the PDF.
Glass cards arrived without the glass: the blur that separates text from background simply isn't printed, and over a photo the background came straight through beneath the words. On paper those cards now get a solid base. Same colour, same reading, text back where it belongs.
The stack card, the one that exists precisely to say there are several, printed ONE. The other layers, and their numbers, were nowhere in the file. All of them now reach the page, listed under the one in front.
And the accordion announced "1 of 4 open" with all four sections open, next to a "+" nobody can press on a sheet of paper. Paper has no state and no gestures: both are gone.

october · 2026

You can now write what a card reveals when it opens

On a phone your presentation reads as a column, and any card there can OPEN with a tap to reveal a second layer: the part that never fit on the slide. Until now that layer could only be written from the chat or by a connected agent; the editor had no field for it at all. It does now, on every card, cell, row, milestone, plan and piece: a paragraph, up to six supporting metrics (label, value, note) and a mini curve.
This is where the answers to the questions a room asks belong: where the number came from, what the baseline was, what it was before, the condition behind a price. None of it shows up on the 16:9 stage or in the PDF. The slide keeps one idea, and the depth stays available for whoever wants to reach for it.
The panel arrives collapsed and tells you what's inside before you open it ("1 paragraph · 3 metrics · 6-point curve"), so you can see which cards carry a second layer without opening each one.
And a card with nothing behind it no longer invites the tap: it used to say "open", flip to "close", and do nothing. A card that opens now always has something to show.
Your AI was taught to use the space too, with judgment: it writes the deeper layer on the cards that carry the decision, not on every one of them.

october · 2026

Your presentation links have a face now

Paste a presentation link into WhatsApp, LinkedIn or an email and it used to land as a bare blue line: no image, no headline, nothing telling anyone what it was. Nobody had a reason to click. It now arrives as a card: a cover carrying the presentation's name, in the colours of the theme you picked for it, with the mark underneath.
The cover is drawn on the spot, and every presentation gets its own. A navy deck and a red deck arrive with different covers, because the colour comes from that deck's theme (or your brand).
What the card does NOT carry: anything from inside your slides. No figure, no price, no client name, no pull quote: the blurb is always the same house sentence. A presentation link is often a commercial proposal, and the preview shows up for a whole group chat before anyone opens it. What shows is the name YOU gave the deck; the contents stay with whoever opens it.
These links also stay out of Google. They never entered search results, and still don't.

october · 2026

Decks built by your own AI now arrive dressed

When you build a presentation by talking to your own assistant (Claude, ChatGPT and friends, connected to Pínax), it was stored exactly as the assistant wrote it: no background texture, no entrance for any element, and a single screen change from the first slide to the last. The theme you chose painted the colour, and its motion never arrived. That is why decks made on different days kept looking like each other.
That path now gets the same finish the inside-Pínax path already had: backgrounds alternate across the deck, each slide type enters on the curve of the chosen style, and the screen change follows the slide's job: a divider does not open the way a hero number does.
One rule, and it always holds: whatever your assistant wrote on purpose STAYS. If it set a slide's transition, a background texture or a card treatment, Pínax does not paint over it. It only fills the blanks.
None of this touches your content, and none of it disturbs the integrity check on an already-signed document. Finish is appearance, and the signature never looked at appearance.

october · 2026

The order of the argument is yours now

Until now Pínax picked the order of a deck from its TYPE alone: every board deck was told in the same sequence, for everyone. You could swap the theme, the colour and the typeface: the thinking underneath never moved. Each kind of deck now has two to four possible ORDERS, and what you've already told us picks between them.
These are real orders, not decoration. "Decision first" pulls the ask up to right after the thesis and lets the numbers back it up, which is what you want when nobody is in the room to carry a reader to the end, or when you prefer a dense screen. "Number first" opens on the hero figure and brings the thesis after it. On a LED wall the number is the only thing legible from 20 metres. "Concept before the number" moves the qualitative block ahead of the indicators, for when you tell us the room doesn't know the subject yet.
Pínax shows which order it suggests, WHY it suggests that one ("in front of executives you prefer a LED wall: you said so, on 15/08"), and what the alternatives were, each with the condition that would summon it. One tap picks another; the same tap puts the suggestion back.
Two hard limits. The order changes SEQUENCE and emphasis, never content. No number, name or fact from your material is swapped, dropped or rewritten because of it. And if you've never declared anything that calls for a different order, nothing changes: you get the usual arc.
A connected assistant (Claude, ChatGPT and friends) receives the same order, with the same justification and the same ban on touching the content.

october · 2026

Motion now belongs to the theme, and the room still has the last word

Every theme now moves in its own way: how a section opens, how the number lands, how one screen dissolves into the next, how the cards are treated. Until now all 39 themes shared five motion vocabularies: three people on three different themes got decks that moved identically. There are 34 distinct vocabularies now, and none of them was invented: each one is derived from what the theme already declares about itself (how it draws a divider, how it makes the hero stand out, what motion character it carries).
And your own motion preference now beats the theme's. If you said you like cinematic motion, the deck moves that way. Even when that motion package doesn't exist for the theme you picked. Before, Pínax answered "I kept the motion this theme embodies", and your preference changed exactly nothing.
The room still rules, though: wide motion in a meeting room gets pulled in, and Pínax tells you it did and why: "you prefer wide motion; in a meeting room I held it back. Tell me if today is a different stage." Same rule that already governed colour: if what you like hurts legibility, legibility wins, and Pínax never does that silently.
What you declared for one room now carries into the others. As a starting point, said out loud. Before, if you had recorded your taste "when teaching" and then opened a board deck, you got the house default, as if you had never said anything. Now Pínax applies what you wanted, tells you it came from another room, and ASKS whether it holds here, and your answer becomes the rule for that room from then on.
That question doesn't cut the line: it queues with all the others, ranked by how many decisions in the deck actually depend on the answer. And like every question here, it's asked once: decline it and it won't come back.
A connected assistant (Claude, ChatGPT and friends) gets both things too: where each motion in the deck came from, what the room held back, and the new-room question already written.

october · 2026

Your profile stopped being your company's, and started coming with a receipt

There is now a profile that is YOURS, not just the house's. On Profile, Pínax tells you whose profile it is using and why: with only a couple of decks to your name it reads the company's habits (and says so), and from the third one on it reads yours. Until now everything the platform learned belonged to the whole organisation. A colleague's taste decided your cover.
Every single thing Pínax learned about you now carries its receipt: where it came from, on what date, backed by how many records, and with how much confidence. That's what makes disagreement possible: nobody argues with a claim whose origin they can't see.
It tells apart what you SAID from what it merely WATCHED you do. Something you said counts immediately; a habit only becomes a rule after three times. One offhand choice on a Tuesday doesn't become a truth about you.
Preferences now have a ROOM. Not “you prefer dense”, but “dense in front of executives, restrained in front of a client, moderate when you're teaching”. You aren't the same person in those three rooms, and the deck stops pretending you are.
And you can finally say NO. “That one I definitely don't want” takes an option off the table for good. In every room, or in just one. A refusal is recorded once; you never have to repeat it.
None of it becomes a cage: what you ask for TODAY always beats what's on file, including your own past refusal. And everything is erasable from the same screen: changing your mind is a right.
Two guardrails worth saying out loud: Pínax never infers your taste from your industry (a clinic doesn't become “serene”, a bank doesn't become “blue”), and no colour preference outranks legibility. If what you like hurts reading, reading wins.
A connected assistant (Claude, ChatGPT and the like) receives the same profile, with the same receipts, knowing whether it's yours or the house's, and it receives your list of refusals too.

october · 2026

Pínax now asks the way a concierge asks: not the way a form asks

Before building anything, the conversation asks the questions that actually change the deck, and says, right under each one, what it changes. That's the difference between something collecting fields and someone trying to understand what you need.
It asks what you want, never how to do it. We don't ask “serif or sans-serif?”; we ask what should stay with the room after you finish. The typeface, the colour and the pacing follow from that: our job, not yours.
New questions that were missing: who's in the room, what has to happen when you're done, whether they already know the problem, and what that audience could use to say no. That last one reshapes the whole arc: an argument that never meets the objection is one the room answers silently, to itself.
On identity, it asks what no history can hold: whether a colour has to be there, whether a colour must not appear, and whether you have a deck you saw and thought was right. A reference comes in as evidence of your taste, never as a template to copy.
You also say how much room Pínax has with what you handed over. From “to the letter, don't touch my words” to “treat it as raw material.” That used to be guessed, and guessing wrong cost the whole rewrite.
A question asked doesn't come back. Even when you'd rather not answer, it leaves the queue: before, an answer Pínax didn't recognise made the same question reappear.
And what Pínax already knows never becomes a cage: even knowing your usual audience, it asks about this one, with the usual answer one click away. Knowing your brand is green isn't knowing you want green in this deck.
At the end, before building, it sums up what it understood and asks whether that's right. Marking, line by line, what you said and what it inferred. A correction there costs a sentence; later it costs fifteen slides.
All of it applies equally to a connected assistant (Claude, ChatGPT and the like): it gets the same questions, in the same order, under the same rules: including not inventing questions and not repeating what you already answered here.

october · 2026

What Pínax keeps starts pulling its weight

The references you attach to a brand, the screenshot, the PDF guide, the link, stop being dead storage: what you wrote about them now reaches whoever builds the deck. As evidence of your taste, never as a template to copy.
The image you pulled a brand's colours from is now kept with the brand, dated. Before, the palette changed and the file that decided it was thrown away.
Templates you starred as a brand's favourites now come first in Models, saying which brand favours them.
In the conversation, when Pínax has the shape of the deck but something in the content is missing, where the numbers came from, the brand that signs it, the period, it tells you what's missing, why it matters in this case, and what it will do without it. It doesn't block: it proceeds and notes. Answer right there and it uses your answer.
Questions asked by a connected assistant (Claude, ChatGPT and the like) now show up on the conversation screen itself. They used to live on a page you might never open, and the question was simply lost.
In PowerPoint import, when a drawn chart couldn't be rebuilt, Pínax now shows the number it measured: how closely the bar heights actually tracked the written values, and how many shapes there were. That number survives a page reload.

october · 2026

Pínax starts using what you already told it

When you say who you're presenting to, you can now also say whether that room knows the subject. It isn't a label: a room new to the topic gets the same message across more screens, concept before number; people who read that metric daily get the version that cuts to it. Answering is optional. Say nothing and we still infer it from the kind of deck, and we say so.
The tone of voice and typical audience you write in your Profile stop sitting in a drawer: they now reach whoever shapes the arc and whoever writes the words on the slides. And what you say in the conversation still outranks any saved preference.
Your answers from first sign-in are back on the Profile page. They shape what Pínax proposes, so you get to see them, and correct them when they change.
When Pínax picks the look of a deck, it now explains all three calls instead of one: the theme, the character of the motion and how wide the gesture goes: each with where it came from (what you answered, what closed deals here before, or the house criterion).
The appendix, that last screen with what the arc couldn't stage, now tells you how much of each point already made it into the deck, instead of treating everything as missing. Whatever showed up least comes first.

october · 2026

Audience questions can now be signed, and can still be asked unsigned

On the public link, anyone sending a question now gets a field for their own name. It is optional on purpose: the question worth the most in a room is usually the one nobody would ask with their name on it. Left blank it arrives anonymous; filled in it arrives signed, and becomes a follow-up with an address on it.
Give your name once and you won't type it again during that talk. It stays there and nowhere else: close the tab and it's gone, open another company's link and it doesn't travel.
In your queue, on the desktop and on the phone running the slides, unsigned questions now read “anônimo” whenever signed ones sit in the same list, so a blank line stops looking like a name that went missing.

october · 2026

Reading on a phone: full screen on a chart now behaves on every device

Tapping “full screen” on a chart used to turn the picture sideways on desktops too, and nobody turns a monitor. The screen now rotates only where rotating helps: a phone or tablet held upright. On a laptop, a monitor, or a phone already on its side, the drawing simply scales up to the largest size that fits, right way up. The button stays on all of them.
With a chart blown up, the thumbnail strip and the top bar were painting over it. They don't any more: whatever you open comes to the front of everything. Including the “ask a question” pill, which steps aside on its own and returns when you close.
On a wide screen the thumbnail strip ran edge to edge while the text sat in a centred column. It now follows the same column as the reading, and the first line never starts hidden behind it: the clearance is measured live, on your device, instead of being a fixed number.

october · 2026

The form, the Companion and the attachments. The last screen before a viewer becomes a contact now explains itself

The form's button no longer says “Send”. It says what the person gets for tapping it, “Send me the deck”, “Send me the package”, “I'd like to talk”, and the wording follows whatever you chose to deliver. A button that promises more than the next screen delivers is the fastest way to lose someone who was already almost there.
Missed a required field? The screen carries the cursor to it, lights the field and writes what's missing right there, instead of naming, four scrolls below, a question you can no longer see. On a phone, at the end of a meeting, that difference is the contact you get or don't.
Lost your connection mid-form? You're told immediately, promised that everything you typed is still there, and it is. Nobody should find out the network dropped only after filling in the whole thing and hitting send.
In the one-question-per-screen mode, the counter became a bar that fills. Seeing how little is left is what makes the last question feel cheap, and it measures real screens, never a comforting animation.
While you're building the form, the panel speaks up past five questions, with the reason, without blocking. The ceiling is still twelve: a long diagnostic is a legitimate case, and the call is yours. What changed is that its cost stopped being invisible.
Attaching a document now accepts a dragged file. And whatever won't work is refused before the upload: too large, or a format we don't take, stops right away with the reason and the next step: instead of pushing twenty megabytes over hotel wifi to be turned down at the end.
While it uploads, the bar carries the file's name and a real percentage, and the screen confirms by name when it lands. It holds at 99% until the server has actually stored it. A bar that hits 100% and then sits there is the classic upload lie.
Removing an attachment now takes a second click, with the document's name in view, on its own row. There is no undo for a file deleted from the vault.
In the editor, the Companion panel shows the full public link with copy and “open the way the room sees it”, and confirms in writing when each switch is saved. The checkbox used to flip on its own, and it flips the same way when the server says no.

october · 2026

Bring your PowerPoint: your speaker notes come with it, and we tell you what didn't

Speaker notes now make the trip. That was the missing half of “I just want to present what I already have”: the presenter console runs on your notes, and until now it came up empty on every import. It opens with what you wrote in PowerPoint.
The screen names what did NOT come across, slide by slide. Tables, SmartArt, video, animations, transitions, extra chart series and hidden slides each get a line with the reason and what to do about it. Finding a hole in front of your client is not an acceptable way to learn about it.
When a hand-drawn chart can't be rebuilt, we say which one and why. If the bar heights don't track the numbers written beside them, the slide comes in as-is. Rebuilding on a hunch would walk a fake number into a boardroom. That refusal used to be silent; now it's a named line you can act on.
Every slide shows HOW it came across: native chart, rebuilt chart, or text with no conversion. One stripe at the top of the report, one tick per slide: you can see at a glance which part of the old work survived intact and which part wants a second look.
Slides you hid stay hidden. They don't enter the imported deck, and the report lists them: your decision to hide them still holds on this side.
Importing is no longer twenty seconds of silence. The screen names the real step, opening the file, N slides found, translating slide 7 of 24, saving, on a bar that moves because the server moved, never because a timer fired.
Before you drop the file you already see both lists: what comes across and what doesn't. Promising only the good half is what makes a migration disappointing later.
“Turn on Companion” now opens straight into the Companion tab. It used to land on the ordinary editor, leaving you to hunt for the thing you clicked for.
And if your file used slide masters, the platform says so up front: there is no master to edit here. The theme plus your brand does that job, and the brand was just lifted out of the file itself.

october · 2026

Every kind of deck is now actually a different deck

The catalogue had 13 starting points, 13 written storylines, and only 10 distinct shapes underneath. A quarterly review, an all-hands and a board readout came out as the same slides in the same order, and a brand film came out as a keynote. There are 13 real storylines now: what the description promises is what the engine builds.
The template gallery used 13 of the 40 slide types across all 149 templates. It now uses 32: before/after grids, gauges, status cards, radar, sonar, nested circles, layered scope, convergence, hub maps, orbit, flow, ridgeline, bubbles, gallery, agenda, wheel, pricing tables, product cards and lead forms, each where it belongs.
They show up on merit, not for variety. A bar chart is only drawn when the numbers share a unit and an order of magnitude. Putting “$412k” next to “31%” on one axis draws a comparison that does not exist, and the engine would rather use a grid than lie beautifully.
You can now state the room's EXPERTISE (newcomer · mixed · expert) on the plan screen, before anything is generated. It changes the pacing: a newcomer room gets one fact per screen, an expert room gets the whole grid at once. Leave it blank and the platform infers it from the deck type, and says that it inferred.
Whitepapers stopped opening with “what you'll learn”. One wrong word in the catalogue was routing them through the lesson storyline; they now open on the evidence and close on a signed recommendation, the way a document read alone should.

october · 2026

The clicks that went nowhere, and a capture form you can finally rehearse

Editor dropdowns open where you clicked again. In a lot of them the list was rendering off to the side, outside the visible panel: the menu opened, nobody saw it, and it felt like a dead button. Measured across the whole editor, before and after: from 0 of 37 lists landing correctly to 42 of 42.
They also stopped closing on themselves. When the saved value sat far down a long list, styles, themes, transitions, the list shut in the same frame it opened. Now it opens, scrolls to your value, and stays.
The capture form has a REHEARSAL mode. Open the vertical reading full screen inside the editor and fill in your own form the way a client would: fields take the keyboard, required fields complain, the thank-you screen shows up. Nothing is saved and no test contact lands in your Audience. The screen says so throughout.
Long option labels stopped getting cut. “Pacote Pínax (.pnx: abre com o motion)” was showing about a third of itself and losing the rest with no warning; the label now wraps and steps the type down until the whole thing fits.

october · 2026

Three doors that were locked from the inside: card templates, Companion, and your PowerPoint

All 30 card templates now show up in the Elements panel as live previews. The profile card, the dial, the stack, the showcase. You pick by looking at the shape, not by reading a name. A shape is not something you evaluate in words.
And they stopped disappearing. On a slide that can't take a card, a cover, a hero number, the block stays put: it says why it doesn't fit there, still shows all thirty, and offers the slide types that do take one. One click converts the slide and the template applies. The capability can be unavailable; the fact that it exists never is.
Companion is now switched on from the EDITOR, where the deck actually gets built. A new tab holds the public link, the audience question channel and contact capture, and tells you when the questions come from your own form slide. Both switches start off and stay off until you flip them: a link you already shared never opens a channel on its own.
PowerPoint import got its own door, under Create. Pick the .pptx, it comes in as it is, charts becoming editable data again, not pictures, and the next screen already offers to present now, switch on Companion, or open the editor. The report says what came through and what didn't, with nothing dressed up.

october · 2026

Signature checking now watches the language, and says plainly what it can't tell

Every signature here keeps a digest of what was signed, and later answers one question: is what's on screen today still what was signed? That check now covers the deck's language. This isn't a translation detail: 1.500 reads as one thousand five hundred in Portuguese and as one and a half in English, so switching the language switches the number your client reads. That's a change to the document, and it now shows up as one.
Content language became a visible choice: in the editor, next to theme and brand, you pick the language your numbers are written in, and the stage beside it reformats as you pick. Until now the field only existed for agent-generated decks, and it was silently dropped on save.
Still not counted: changing the theme, the style, the brand, the frame, the motion or the footer seal. Those are the owner's looks-and-feel calls, and an alert that fires when nobody changed anything is an alert nobody reads on the day the price does change.
Signatures made before this change are not accused of anything. They now say, in plain words, that the way content is checked changed after them and so the two can't be compared, and that this does not mean the content changed. That same sentence now reads identically in the dashboard, on the signing page, on the phone and in the PDF; it used to be written four different ways in four places.

october · 2026

Generated decks stopped looking like one another

Ask for a deck, in the chat or through a connected agent, and it now arrives knowing when to reach for what. Until now, whatever generated your deck got a list of slide-type names. It now gets, for each one, the situation that type actually answers. In practice: a before-and-after metric becomes a KPI quadrant, a ranking becomes a horizontal bar, per-line status becomes a severity card. Instead of everything becoming the same split panel.
Backgrounds, frames, card surfaces, the 3D object and the zoom and continuity transitions reach the generator too, each with the criterion for using it. They were capabilities the engine had and the writer didn't.
And there's a ceiling now. No slide type repeats more than twice in a row or takes up more than a third of the deck; spotlight mode and the lit card are capped at two slides each. That isn't advice, it's arithmetic, and it shows up in the automatic review of every deck you save, and in the outline, before a single slide exists.
In the chat path the variation isn't requested, it's applied: texture follows each slide's job (and steps away from charts and dense text, where it would compete with reading) and the transition follows the moment: a section opens with weight, a reveal lands calm.
In the editor, the Elements panel picked up the section dividers that were missing (agenda and topic wheel) plus a new Environment block: texture, frame and surface one click away, with the same behaviour as the 3D object. Click to apply, click again to remove.

october · 2026

Contrast is now checked on the pair you actually see

The platform already guaranteed every theme is legible at the source. What was missing is the case that hurts live: two perfectly valid theme colours stacked on each other, forming a pair nobody can read: the dark card on the dark field, the number in the colour of its own bed.
The check now measures the composed pair, exactly as it is drawn on stage and in the phone's vertical reading. Where the pair doesn't read, the platform says so before the deck ships. Not afterwards, in front of the room.

october · 2026

Swipe sideways and the room's questions come up

The phone in your hand while you present now holds two screens, and your thumb moves between them. Swipe left and the question wheel takes over the device; swipe right and the clicker comes back. No aiming at anything, in a dark room, with whichever hand is free.
The gesture is written on the screen. Right under the questions button there's a line that reads “swipe sideways” and two marks showing which screen you're on, because a gesture nobody can see only works for the people who already knew about it.
Prefer to tap? The big button still does the same thing. On a keyboard, Shift + arrow. And if your phone is set to reduce motion, you lose the animation and never the function.
The swipe doesn't fight the wheel either: scrolling the question list up and down is still scrolling the list. The phone tells the two gestures apart by direction, before it commits to either.

october · 2026

Your AI assistant can now build the lead-capture screen, and hands you the right link

If you've connected an AI assistant to Pínax, it can now build a deck from scratch with a form screen at the end: your questions, your button label, your thank-you line, and the file the contact downloads after filling it in.
And it finally hands you the link that matters. Until now the assistant signed off with the edit or present address: both require a login. The link you actually send out, the one your audience opens with no password, never made it into the conversation. Now it comes with the handoff, plus a note that it's the only address where the form is genuinely fillable.
The audience question box stays your call, and only yours: it ships closed and opens from the Audience tab of the deck. No assistant flips that for you. Opening anonymous writing on a link you already sent is a door nobody chose to open.

october · 2026

Watch your client's phone while you build the deck

Every Pínax deck has two readings: the room's screen, and the phone: top to bottom. The second one has existed for a while and you never saw it until the link had already left your hands. It now sits on the right of the editor, in a slim glass column: your client's handset, with your deck inside, following whichever slide you're editing.
One click and it takes over the screen. This is the real reading. It scrolls, cards open, everything responds. Not a picture of what they'll get. What they'll get.
And the pacing is yours now. Under the preview sit the steps of that slide: the headline, each group of cards, the panel. Drag to reorder, merge two into a single screen when they're one idea, or hide the one that doesn't belong on a phone.
None of it is required. A slide you never touch reads exactly as it read before: this is something you can add, not a chore waiting on all forty of your slides.
When AI builds the deck (our chat, or your own connected assistant), it can propose the order and merge what belongs together. That's craft. Hiding a step is not: removing a screen removes a number, a date or a price from someone's view, and that call stays yours. If it thinks something is redundant, it says so. You're the one who deletes.
One fix rides along: the same embedded reading inside the presenter console was sizing itself to the whole window instead of its panel on large screens, and showed up nearly blank.

october · 2026

The form on your share link now wears your presentation

The screen where someone hands over their details is the last one before they become a customer, and it was the plainest screen in the deck. It now sits on a glass panel over a slow-moving backdrop: the same one your cover uses, tinted by your theme and your brand.
Fewer lines, easier reading. Every field used to carry its own outline; on a five-question form that added up to fifteen rectangles fighting for attention. Now the panel carries the only outline, and the fields separate by surface: the way the products you admire do it.
The dropdown looks like a dropdown again: it got the caret it was missing. And the tick boxes stopped being the operating system's white square and are drawn in your brand colour instead.
Reading details: the “required” note beside a question is easier to read, the send button gained weight and glow, and anyone who asked their device for less motion gets the same panel. Minus the animation, with nothing missing where it was.
Plus a fix nobody had spotted: share links were rendering the deck in the default theme rather than the one you picked. Your client now sees exactly what you built.

october · 2026

Partners and witnesses: several signatures on one contract

A contract rarely carries a single signature. You can now place as many signature fields as the document needs, up to eight, and name what each one is for: signatory, partner, attorney-in-fact or witness. A partner and a witness are not the same thing, and the paper now says which is which.
Every field gets its own invitation. One link goes to the partner, another to the witness, and each person signs precisely the line that belongs to them: never someone else's.
Nobody waits on anybody. They can sign in any order, days apart. Whoever arrives later sees the original document, the same one the others read, plus who has already signed, by name and role. The personal details of earlier signers stay private.
The signature is now stamped where you marked it: name, role, ID number and timestamp are printed onto the contract page itself, not only on the sheet at the end.
Each signature appends its own record sheet without touching anything already there. A later signer's sheet lists who signed before; an earlier signer's sheet stays exactly as it was written. The document tells the story in the order it actually happened.
If the file is swapped between one signature and the next, Pínax refuses the next signature and explains why, naming who had already signed. Two people must not sign different content on a document that presents itself as one.
The panel keeps score: how many signed, how many are outstanding, and who each one is, with a button to download the PDF containing everything signed so far.

october · 2026

The attachment your contact receives is now the signed document

When someone fills in your presentation's form, the attachments you ticked for delivery go out with it. Until now that meant the original file, even when the contract had already been signed inside Pínax. Now the signed one goes out.
And it never arrives under a name it hasn't earned. If the contract is still waiting on signatures, the delivered file says so in its own filename, “(signed, 1 of 2)”, and the delivery screen shows the state beside the document. Once complete, it simply reads “(signed)”.
A document with no signature field, a price sheet, a portfolio, is delivered exactly as before, with no label at all: it isn't a contract, and there is nothing to declare about it.

october · 2026

Send the proposal out for signature, and get the signed PDF back

Attach a PDF to a presentation and you land straight on a screen showing the document's pages. Click where the signature belongs. The spot is stored in the PDF's own measurements, not in screen pixels, so it lands in the same place whether the signer opens it on a laptop, a tablet or a phone.
From there you get a link to send to whoever signs. They need no Pínax account: they open it, read the whole document on screen, and identify themselves with full name, national ID number, phone, email and address.
The ID number is checked on the spot. A mistyped digit is flagged while the person still has the keyboard in hand. Not on the day someone needs the contract to hold up.
Once signed, Pínax appends a page to the end of the PDF: both parties identified, the declaration, the timestamp with its time zone, a fingerprint of where the access came from, and a fingerprint of the document's contents. The original file is untouched: the page is added, nothing is rebuilt.
The signer downloads their copy immediately. You see in the panel who signed, with what identification, when, and you can pull the signed PDF whenever you want.
A signed document does not get rewritten: signing again never overwrites, and a signed document cannot be deleted from the panel.
If the stored file changes after signing, the panel says so plainly. That is exactly what the content fingerprint recorded at signing time is for.
On the ID number: it is encrypted at rest, shown masked on day-to-day screens, and printed in full only inside the signed PDF, where it does the job of proving who signed. It never reaches the contacts spreadsheet.
An honest word on what this is: a simple electronic signature with an audit trail. Pínax records what it observed. Who declared, when, from where, and over which content. It is not identity certification by a certificate authority, and the printed page says so.

october · 2026

Attach the proposal to the deck, and hand it over with it

Every presentation panel now has Attachments. Drop in the proposal PDF, the contract, the spreadsheet, the documents that travel with that deck, and they sit right there, next to the contacts and the questions.
Each attachment has a tick: hand to the lead. Only what's ticked goes out with the deck to whoever fills in the form. Your internal pricing sheet and the signed proposal can live in the same place without one ending up in the wrong hands.
The person who fills in the form sees the deck to download and, underneath it, the attached documents with name, type and weight, because pulling 8 MB on a phone mid-meeting is a decision, not a detail.
Every link is personal and lasts two hours. Untick the handover or delete the file and the link dies on the spot, including the ones already sent.
Files are kept off the web: there is no public address to guess. Only you, through your account, or the person who filled in the form, through their link.
The platform checks the file by its contents, not its name: anything dressed up as a PDF is turned away at the door. PDF, PNG, JPEG, Word, Excel and PowerPoint, up to 25 MB each.
Rename or remove whenever you like, and the list shows the size and type of every document.

october · 2026

A signature that proves what was signed

Sign a proposal and the platform now keeps a fingerprint of the content as it stood at that moment. Until now it recorded who signed and when, and nothing at all about what the page actually said.
Change the content afterwards and the link says so. Anyone opening a signed proposal sees, right beside the stamp, whether what they're reading is still what was signed.
Swap the theme, the motion, the background colour or your speaker notes and nothing fires. None of that is the deal. Touch a price, a deadline, the scope, the running order or the words, and it does.
In the session panel each signature carries its verdict: content matches, or content changed after signing. The trail sits with it: the date, the fingerprint of what was signed, and where it came from, always hashed, never the address itself.
The PDF receipt says the same. It's built from today's content, so it now states whether that content is still the signed one, instead of stamping “Signed” across a document that may have moved on.
Signatures from before this reads as “can't be checked”, not as altered. They were made without that record, and calling them anything else would be inventing evidence.

september · 2026

After the room empties: the audience report, and the spreadsheet

Every presentation now has an audience report. You reach it from the presentation panel, and from the end button in the console, which is the moment the room is still in your head.
It opens with what went unanswered, ordered by votes. That's the group worth an email: people who asked and didn't get a reply. Then what made it to the screen, in the order it went up. Then whatever you archived mid-talk. Archiving never deleted anything.
Each question carries where it came from by slide name, not just a number, plus who asked, when it arrived, and when it was projected.
One button exports the lot to Excel in PÍNAX colours: blue header, frozen pane, columns sized to fit. Two tabs: the contacts and the questions.
The spreadsheet columns are the questions you built into your form, not a fixed name/email/phone trio. Whatever didn't fit the screen fits the file.
You're the only one who opens it and the only one who exports it. That list is the contacts from that presentation, and the download link your audience gets nowhere near it. It fetches the deck, and nothing else.

september · 2026

Picking the question your room wants is now one thumb spin

The presenter console and the phone you advance slides with both have a Questions mode: the audience queue on a wheel you spin. The one in the middle is bigger and fully lit, the ones above and below fall back: whatever sits at the centre is what's selected. No aiming.
One wide button throws the centred question onto the screen your audience is watching, with the background blurred behind it. The same button pulls it back. Tapping a question only spins it to the middle. Nothing reaches the room until you say so.
Sort by most-voted or by newest. Each question carries the slide it was asked from, and the name of whoever asked, when they gave one.
Archiving lifts a question off the wheel without erasing it from your record, so the queue stays short while you're talking.
With reduced motion switched on, the wheel becomes a plain list and loses nothing: same snap, same marked centre, same button.

september · 2026

The qualification form is a slide now, and filling it in unlocks the download

There's a form slide type. You build the questions in the editor, field by field, and it arrives wearing your theme, your brand and your transition, because it is a slide, not a separate page bolted onto the end.
Two ways to ask, your call: every question on one screen, or one question per screen with the deck's own transition carrying you between them. The second usually earns more answers on a phone.
Whoever opens your link answers on their own device. The form reflows: full width on a phone, the same reading measure as everything else on an iPad or a laptop: no tiny type, no pinch-zoom, and the right keyboard for each field.
Fill it in, get the deck. The download unlocks immediately through a link that lasts 2 hours, belongs to that one person, and dies if you delete the contact. Nobody who skipped the form can reach the file.
Answers land in your private list, under Audience, inside that presentation. The columns come from the questions you wrote, and one column tells you who actually downloaded.

september · 2026

Cards became elements, and a card now holds up on the slide and in the PDF

Pínax ships 30 card layouts. The hero number, the dial, the spec sheet, the stacked deck, the location plate. They were finished, and reachable only by writing them into the data. They now sit in the editor's Elements panel: pick one by name and it lands on the card you selected. Click it again to undo.
They also crossed into the 16:9 slide and the PDF. Until now a card carried the glass and the glow onto the stage but kept its old layout underneath; the whole arrangement travels now: including into the file you send after the meeting.
The corners were rebuilt. Rounding was computed per side, so on a card wider than it is tall the corner came out slightly oval. The "almost right" feeling nobody can name. We measured all 30, one at a time: 19 were oval. The corner is now round at any proportion.
Nothing changes in decks you already have: with no card declared, the drawing is exactly what it was.

september · 2026

Template choice no longer hangs on a word in your brief

Tell Pínax what the presentation is for and where it will happen, and it picks theme and template on criteria: then tells you which criteria decided it, instead of justifying the choice with a stray word it found in your text.
The question about where you'll present gained the two answers it was missing: video call and read-as-a-document. The first is now the most common setting for a proposal, and it simply wasn't there.
What you answer stays with the session: the platform won't ask again what it already knows.

september · 2026

Several devices in one scene, and the main one can run off the edge

The device slide drew a single device, always whole and always the same size. You can now compose a scene: two or three devices at different scales, draggable across the stage, with the main one free to run off the edge. That crop at the edge is what makes it read as close.
Each piece has its own corner handle for size and a control to push it back, so the supporting device never competes with the one you want read first.

september · 2026

An agenda that shows the index and the current topic at once

A new way to lay out an agenda: the topic list sits on one side and the current topic opens on the other, with its title large and its description below. Use it when you want the room to see where they are in the journey without losing sight of the matter at hand.

september · 2026

The chapter number became a window onto the photograph

In the Duotone identity, the one where everything steps back so the photography can lead, the number opening a chapter is now a cut-out: the slide's photo shows through the digits, and the rest of the screen stays clean. With no photo on the slide, it returns to the solid number as before.

september · 2026

The stacked agenda now reads from the back of the room

In the big-word topic layout, each topic's number sat tiny and pressed against the text: too close to read as an index at all. It now moves to the opposite margin, aligned to every word and at a size that carries across a room: the eye reads two columns, what it is and what order it comes in.
The current topic is also framed by two edge-to-edge rules now, without nudging its neighbours as you move through.

september · 2026

The chapter number no longer always sits in the same corner

Until now every identity opened a chapter the same way: number left, text right. Where it sits is now part of the identity. In Agência the number rises to the top right and the title drops to the bottom left, with the empty diagonal between them; in Sereno it becomes a plate behind the text, and the hierarchy turns into one of depth.

september · 2026

The current topic announces itself, even in colourless identities

In the row-style agenda, the current topic was marked by colour and a faint emphasis alone. In the identities that use no colour by design, Dossiê, Noir, Cartaz, that all but vanished. It now carries a heavier rule and a written marker, both of which read in any identity and to any reader.
While we were in there: that row used to crop the last topic off the screen once you had four of them. They all fit now, and the sizes respond to how many topics share the row instead of staying fixed. Past a certain count the number moves above the text, so no label ever breaks mid-word.

september · 2026

The topic overview now arrives and leaves with intent

Opening the topic list mid-presentation is no longer a blink: the room dims, the panel rises, and the topics cascade in: the eye takes in the shape of the list before reading a single word.
Pick where to go and the chosen topic advances and lights up while the rest step back. That difference between the two gestures is what shows the presenter's decision, instead of the list just vanishing.
The rule above a chapter is now a per-slide choice: erase it where your identity brings one, or add it where it doesn't.

september · 2026

A new way to open a chapter: the numeral that bleeds

The Cartaz identity now opens each chapter with the block's number set colossal, running off the edge of the screen, the title crossing over it. It is a poster's gesture, and the crop at the edge is exactly what gives it scale.
The agenda columns' corners now follow each identity's own geometry instead of one fixed rounding. Choose a square-cornered identity and you get square corners here too.

september · 2026

Long agendas now fit the screen

A long agenda used to squeeze its columns until the text stopped fitting. Eleven topics left about five characters per line. The list now folds into two rows and every topic gets readable width back. Six topics or fewer: nothing changes.
The "you are here" marker was barely visible. The current topic's column now genuinely lights up, with the text adjusting so it stays legible on the colour.

september · 2026

Topic slides came alive, and the overview now opens on U

Agenda and dial slides now take the same treatments your cards always had: hover highlight, looping motion, and an entrance animation on the topic list. Those controls were already in the editor; they just never reached these slides.
Move from one section to the next and each topic now travels from where it was to where it belongs, instead of the screen cutting and redrawing. When a section gives way to a slide without topics, they leave the way the eye reads.
The topic overview, already on T and on the corner indicator, now answers to U as well, and the on-screen hint names both keys.

september · 2026

Each identity now composes its cover its own way

The identities already declared their own composition grammar, symmetrical, stage-centred, asymmetrical, editorial, wide-margin, and none of it reached the screen. The data existed and went unread. It now composes: Noir centres, Suíço anchors the title at just over half the width and lets the phrase break, Boutique opens a magazine margin.
Twelve identities stayed exactly as they were: the ones declaring symmetrical composition, which is the default. And the grammar reaches only covers, sections, quotes and closers: on a chart, map or grid slide the column width is what makes the bar fit and the label clear, so there composition stays function, not style.

september · 2026

Section dividers stopped being identical across every theme

Until now all 39 identities opened a chapter the same way: the large number on the left, the text on the right. Changing type changes a deck's voice; changing position changes its posture, and the position was the same everywhere.
Chapter numbers are now solid by default. They were drawn as a one-pixel outline at every size. Already hairline on a giant numeral, and invisible at smaller ones. The outline is now reserved for the case where it becomes a drawing: the huge number behind the text, where the stroke scales with the letter.
There are now four languages, and each theme uses the one that suits it. The number can become a band across the top (signage, as in Cartaz and Suíço), fill the screen behind the text (the number as atmosphere, in Keynote and Cinematográfico), or disappear entirely in favour of a thin rule (the rhythm of a document, in Dossiê and Editorial). Twenty-six themes stayed exactly as they were.
The type scale opened up too: the gap between the densest theme and the most monumental was 21% across the whole library: too little to read as identity. It is now 56%, and stage themes gained genuinely large numbers.
And the hero number can now centre itself on the stage, for themes where it should stand alone on the axis.

september · 2026

Fifteen visual identities that already existed became reachable

Prisma, Prancha, Prensa, Neutra, Fenda, Damasco, Expedição, Cofre, Miragem, Persiana, Ímpeto, Clima, Névoa, Fulgor and Cromo were finished, palette, type, geometry, and no template offered any of them. They existed and could not be chosen, which amounts to not existing.
Each one joined the templates its language fits: Cofre and Prancha in results and board decks, Prensa and Neutra in teaching material, Miragem and Névoa in brand film, Ímpeto in campaigns, Clima in research. The library went from 24 to 39 reachable identities.
And a check now guards against a repeat: a theme's palette and the templates that offer it live in different files, with nothing forcing them to agree. A theme that is built but never offered, or offered but missing, now fails before it ships.

september · 2026

Presentations now adapt to how far the audience is sitting

When a deck is headed for an auditorium or an LED wall, the supporting labels grow, and only those. Scaling the whole slide fixes nothing: the audience is further away in the same proportion, and what matters is apparent size, not real size. What works is the support growing more than the hero number, compressing the scale.
Measured across all 36 slide types: in auditorium mode, texts under 15px drop from 164 to 8; in wall mode, those under 18px drop from 269 to 17, and the state name on the 3D map goes from 11px to 20px, including after the camera zooms in.
Viewing distance was already set before presenting, but only applied to multi-screen setups. Anyone presenting the most ordinary way, a laptop plugged into a projector, never saw any adjustment. The mechanism existed and was switched off for exactly the most common case.
The adjustment now also reaches labels inside charts and maps, which no size rule had ever touched. Including the state name on the 3D map, the smallest text on the platform.

september · 2026

The editor's dropdowns are now drawn by us

The open list of every picker was drawn by the operating system, not the platform: the selected item pinned to the top in the system's blue, a grey hover, type and spacing that were never ours. It was the one surface of the editor outside the design, and it shows up in 37 places, so it was never a detail.
The list now opens on the value you already have, with one mark for the stored value and another for where the keyboard is. Those are different states, and the system picker conflates them: that's where losing your place while navigating comes from.
Nothing was lost from the keyboard, and that was the hard part: arrows to move, Home and End for the ends, Enter to confirm, Esc to back out, and typing the first letters to jump straight to an item, which across 27 styles is the difference between choosing and scrolling. Screen readers still announce the current option.
One detail only measurement caught: with the list opened by keyboard, a pointer resting over it stole the keyboard's place without the hand having moved. The mouse now only takes over once it actually moves.

september · 2026

Spotlight became one question: how far the supporting cards recede, and when

There were three ways to do the same thing, the faded surface, the “reveal” pointer effect, and sequenced spotlight, each with its own fixed intensity, none aware of the others. It is now one control: you choose how far the supporting cards recede and when it happens: always, on pointer, or as you advance with the arrow.
The gain that didn't exist: with the pointer trigger, the fading no longer occupies the hover slot. You can have the other cards recede AND the card under your hand shift colour or light up from within. Choosing “reveal” used to cost you the entire rest of the vocabulary.
Nothing changed for anyone already using it: the faded surface stays at the same 50%, “reveal” at the same 42%. The old values became each trigger's default. Anyone who wants to can now govern all three with a single number.

september · 2026

Two new card effects, and the tilt now follows your cursor

“Shift colour” changes the whole card under the pointer, and the text colour resolves itself. You pick one colour; the text's comes from the contrast measured against it. The absence of a second picker is the decision: choosing both separately is the short road to a card nobody can read, and that only shows up on the big screen with an audience watching.
“Light from within” is the backlit reading: the glow is born under the card's surface and rises from its base, instead of the halo stuck to the outside that we already had. The difference is large: an outer halo reads as a lit sticker; inner light reads as an object with a source behind it. Intensity is yours.
The light now fades in and out properly, and it can breathe. The first version snapped on with no transition. The reason was a browser rule of its own: shadows only travel between two states when both hold the same number of them, and ours added layers as it lit. Fixed, the fade came back. And there is a new option: the light drifts slowly while the pointer rests on the card. Still light reads as a picture; breathing light reads as a real source, but on a dense slide it steals attention from the data, so the call is yours.
“Tilt” stopped being a fixed angle. The card used to lean the same way no matter where your cursor came from, which is exactly what gives the trick away, because a real object tilts toward the hand that touches it. It now follows the pointer, and anyone already using the effect got the better version without changing a thing.
Loop motion and pointer effects also became available to decks built through AI: they lived in the editor and the engine, but never in the vocabulary the assistant can see.

september · 2026

Clicking a card now opens the card's controls

Until now, clicking a card opened the same panel as a piece of text: content, position, style and entrance motion. None of what makes a card a card. Surface, hover, loop motion, spotlight and hero already existed, but in two distant sections of the side menu, and anyone arriving via the card passes through neither.
The click is now enough, and the panel understands what you clicked: one card shows what belongs to it (hero, its own colour, width, the 3D object in its corner) and, right below, what belongs to the set (surface, hover, loop, spotlight). Clicking the grid itself shows only the set.
Sequenced spotlight is back in view, and it now drags. The index field remains the precise source, but order is a spatial thing: typing “1, 3, 2” makes you translate position into a number in your head. The chips show the sequence as it is, and dragging one rewrites exactly the same data.
Marking a card as hero unmarks the previous one. Two heroes in a set isn't double emphasis: it's none, because the eye loses its reference for what to look at first.

september · 2026

Card loop motion works again. On every slide that offers it

Picking “Float”, “Pulse” or “Sway” on a comparison, a KPI quad or a timeline saved your choice and did nothing. The card sat still and only hover responded. Motion now reaches every card surface, and the KPI quad, which didn't even offer the control, now does.
The cause was an invisible collision: an element accepts only one animation at a time, and the card's entrance already held that slot. The loop rule worked around it by skipping exactly the cards that have an entrance, which is nearly all of them. Entrance and loop are now declared together, with the loop starting as the entrance settles.
A check now measures every slide type against every motion, with and without an entrance, and fails if any goes still again. This is the fifth time a control of ours has shipped without reaching its element: from here, the sixth attempt hits the test instead of the user.

september · 2026

Picking a motion now shows you the motion

The entrance list gives you names, Rise, Fall, Zoom in, and a motion's name is not something you can judge by reading. You had to pick one, find the replay button across the screen, and click it; comparing three candidates meant three trips, and somewhere along the way you lose the memory of what the last one did, which is the whole comparison. The slide now replays the entrance the moment you choose it.
It replays the whole slide on purpose, not just the element: an entrance is rhythm, and a motion is only good in relation to what arrives before and after it.
And the element stopped losing its selection when that happens. The stage is remounted so the animations can run again, and every remount wiped the selection. You would watch the animation and then find yourself clicking the element on the stage again before you could try the next option. This applied to the replay button too, which already behaved this way.

august · 2026

The slide strip now moves under the keyboard

With focus on the strip, arrow keys walk slide to slide and Home/End jump to either end. The strip has always announced itself to screen readers as a navigable list: it just never answered the keys a list promises.
And Tab stopped landing on every thumbnail. It used to visit all of them: in a 40-slide deck, the size we recommend for a ten-minute board meeting, that was forty stops just to cross the strip and reach the rest of the screen. Now it is one stop, and the arrows cover the distance.

august · 2026

Undo in the editor now works per edit, not per keystroke

Writing a title and wanting it back cost one Ctrl+Z per LETTER. A typed sentence is now a single edit. Two boundaries keep undo predictable: moving to another field starts a new entry, because those are different edits, and so does a pause, which is where you stopped to think and the natural place to return to.
The bigger win is the part you couldn't see. History keeps the last 60 actions; typing two sentences used up all of them and quietly erased everything before. The theme you switched, the slide you reordered, the card you deleted all lost their way back, with no warning. That's over.
And undo with the cursor still in the field now actually works. The slide would revert while the field kept showing the old text, so your next keystroke wrote that text straight back: undoing your undo. The field now follows any change that arrives from outside it, whether that's undo, the command palette, or an edit from the AI.

august · 2026

The 3D object became a real element: pick its material, drag it on the stage, and it stopped reading as hollow

It was missing from the elements list. Anyone looking for a 3D object where you look for elements came up empty, because it isn't a slide type. It's a layer that adds to whatever you already built. It now has its own place in the Elements panel: one click drops the piece onto the slide without disturbing anything, another click takes it away.
It is now clickable and draggable on the stage, with a corner handle for size: like every other element. Position used to live only as two number fields in the inspector, which cuts against the house rule: size and position belong to the stage. And it is the one element allowed to bleed off-screen on purpose. That crop at the edge is what makes it read as large and close.
Six materials, and each one is genuinely a different material rather than the same one at another brightness: polished metal, brushed metal (the reflection stretches along the grain), matte, cast-and-blasted grain, glass that refracts what sits behind it, and crystal with a prism's rainbow at the edges.
The piece stopped looking hollow. Two things were missing: it cast no shadow on itself: arms crossed without darkening one another, so the eye read thick wire instead of a solid; and a flaw in how the surface was laid out showed its interior across roughly 5% of the loop, like a cut pipe. Both are fixed.

august · 2026

You choose how the 3D object moves, and cards now answer the pointer

The glowing object used to have a single switch: spin, yes or no, always the same axis and the same speed. It now has three separate gestures, because they say different things. Spinning shows the piece from every side, swaying gives it life without showing it off, and floating takes away its weight, as though nothing were holding it. Each with its own strength and speed, and the spin axis is yours to pick.
Cards carrying a 3D object now tilt TOWARD wherever the pointer is, instead of the one fixed angle they used regardless of where the cursor came from. The middle of the card stays flat and the edges answer, which is where a hand would actually grip a real object. You set how far it tilts, and whether it follows the cursor heavily or stays glued to it. The object in the corner got its own spin and float too.
We found something along the way: anyone who switched windows mid-presentation came back to a frozen object. The motion suspended itself to save battery, and nothing ever woke it. Now it wakes, and picks up where it left off, without snapping back to the start.
Bullet lists lost the rectangular boxes around them. Those were never part of the design: a rule about stroke thickness, written for cards, was also reaching list items and drawing a closed frame around every line. The same thing was happening to timeline steps, where the box came out even stronger than the hairline meant to separate them.

august · 2026

The transformation stopped passing through the object, and it now has body over the text

In the first version each point of the surface travelled from one shape to the other in a straight line, and a straight line between two sides goes through the middle: the piece passed through itself halfway. Points now travel around the centre instead of across it, the piece takes a slight breath of volume mid-passage, and the change runs across the surface like a wave rather than happening all at once.
And when the object passes in front of content, it stopped being a cut-out pasted on top. What sits behind now loses light, colour and sharpness as it nears the object, which is what a real body does to whatever is behind it. The text stays readable where it needs to be; what changes is that something is now in the way.

august · 2026

The 3D object transforms as one slide becomes the next

When two consecutive slides carry objects of different shapes, the object isn't swapped, it transforms. The knot unwinds into a ring, the ring opens into a sphere, and it happens while the headline travels to its next position, on the same timing and the same curve.
This isn't one image dissolved over another: the three shapes are now generated on the same mesh, point for point, which makes it possible to interpolate the surface itself. That's why the in-between states are real forms rather than a blur.
Anyone who asked for less motion in their system sees no transformation at all: the new shape simply appears.

august · 2026

The 3D object left the background: it now cuts through the composition, and you pick the material

The object always sat behind everything. You can now place it between the background and the text. It crosses the scene and the headline passes over it, adding depth without hiding what people read, or in front, when the object is the subject and the text shows through its voids.
And it stopped being one fixed piece: choose metal, matte, or glass with real refraction; a dark or light base; how much it reflects the room and how much it glows on its own; the colour, plus a second colour that lights only the rim, like anodised titanium. Choose nothing and it follows the deck's theme.
Two fixes came along: the object is no longer sliced flat by its own edge, framing is now derived from the object itself, so it holds at any angle of the spin, and the material stopped looking like plastic. Real metal reflects light rather than emitting it, and that's how it behaves now.

august · 2026

Three fixes in the editor: the notice that survives, the panel that closes, the slide that lifts

Copying, cutting and pasting in a row, only the last notice showed: the earlier ones were overwritten and you couldn't tell whether the actions landed. They stack now, capped at three: an uncapped stack becomes a noticeboard, and a noticeboard in an editor's footer is noise, not feedback.
The style panel opened with animation and closed abruptly: the content stayed fully visible while the box shrank around it, which reads as cut off rather than closed. Now the content goes first and the space folds after. Faster on the way out than on the way in.
And slide thumbnails now lift under the cursor, like the cards everywhere else on the platform. The one you're on doesn't lift: it's already where you are.

august · 2026

Slide entrances gained depth: the number arrives, everything else settles

Until now every element on a slide travelled the same distance on entry: the hero number and the footnote moved alike. It read as a list shifting, not as a scene with focus.
There are three layers now. What you came to see arrives in full; what supports it settles over less than half the distance; what merely gives context barely moves. Same cascade as always, with the right distances. No extra time, no new elements.
The effect is a camera's: the eye finds the hero first, because the hero is what actually moves.

august · 2026

The house method became something your assistant can read

Pínax has a method: how the arc gets chosen, what makes a number the hero, when motion serves and when it gets in the way. Until now it lived in the engine, showing up only as corrections. Your connected assistant can now READ that method before building, instead of improvising and being corrected afterwards.
It reads only the part the task calls for: defining the arc reads narrative; dressing the deck reads visual identity. Loading the whole manual on every request would mean paying for text that doesn't change the answer.
And the method isn't a manual written on the side: it's generated from the engine itself. When a new archetype or theme lands, the text the assistant reads is already current. A hand-written manual ages and starts teaching a house that no longer exists.

august · 2026

Choosing the deck's identity became something you see, not something you read

When the assistant suggests themes, they now show up as cards inside the conversation itself: each palette visible, each with its reason. It used to be a list of names, and deciding on colour by reading a name is the opposite of deciding by looking.
Clicking a card only tells the assistant what you want. The card never touches your presentation on its own: a click inside a frame is not authorisation to write to your workspace.
And anyone on an app that doesn't render cards yet still gets exactly the text they got before, losing nothing.

august · 2026

The agent finished your deck, and can now hand you the file

One step was missing: the agent would build the whole presentation and had no way to give you the PDF, because downloading required being signed in. Now it generates a link to the finished file, PDF, PowerPoint, Word, or the offline package, and hands it to you in the conversation.
The link is signed and temporary: it works only for that presentation in that format, expires in hours, and never becomes a public address. Swapping the format in the address bar, changing one character, or using it past the deadline simply doesn't open.
And the file never travels through the conversation: the agent sends the address, not the binary. A two-megabyte PDF crossing the chat would burn your message budget to carry something the browser opens on its own.

august · 2026

The agent door now speaks the new protocol. Without closing the old one

The standard that connects AI agents to tools changed deeply: the opening handshake is gone, and every request now carries its own identification. Pínax speaks both versions at the same address, so the agent you use today keeps working and tomorrow's already finds the house ready.
A new client asks first what the house speaks, and gets the full answer: including what we do NOT have. Declaring a capability you don't have is the fastest way to make an agent fail in the middle of your work.
The tool catalogue now states how long it may be cached and always comes back in the same order, which cuts repeated lookups, and it's marked private, because the list changes with the key that asks.

august · 2026

Your mark signs where you want it, and stays quiet where it shouldn't

The logo had exactly one corner, hard-coded. Now you pick from nine positions on a grid, set size and opacity, and nudge it finely if you need to. The choice lives in the Brand Kit and holds for the whole deck.
And any slide can say “not here”. Covers usually want that: they already carry the mark at full size, and the corner stamp just repeats it.
Fade it too far and you'll hear about it: below a quarter opacity a logo stops reading as a brand and becomes texture. The deck looks signed without being signed. Same for oversizing, because a mark signs, it doesn't compete.

august · 2026

A new slide for saying how each thing stands

The catalogue was missing what diagnostic and compliance decks ask for most: the portrait of ONE unit, a branch, a client, a contract, with every item assessed and the one that needs attention. What existed showed before-and-after, metrics, or workstreams over time; none answered “how does each thing stand right now”.
You declare the meaning, on track, attention, alert, and the colour comes from the theme. The same slide stays restrained in a light serif theme and picks up control-room green and red in a dark one, with nothing to reconfigure.
And in the themes that use no colour on principle, the signal survives: each row's rule thickens with severity, and the state is written out. Anyone who can't tell green from red reads the same information: on stage, in the PDF, and in the file you send.

august · 2026

Motion now takes the time the distance deserves

Every element entrance lasted the same, whether it travelled 12 pixels or crossed the whole screen, and crossing a screen in half a second reads as rushed, not deliberate. Duration now follows distance: the short nudge stays exactly as you know it, and the long crossing gets close to twice the time.
And the deck adapts to the screen it's on. On an auditorium wall the eye covers far more physical ground, so motion settles down; on a small screen, where everything is inches away, it speeds up. You used to have to remember to raise the intensity by hand before walking on stage.
Motion warnings gained weight, too. An animated background behind a chart, which blocks reading, no longer counts the same as an easing curve that just lacks polish.

august · 2026

Chart previews came back, and the donut legend stopped printing over itself

When picking an element, the Pie/Donut, 3D Bars and 3D Map previews came up empty. All three shared an internal name with the slide itself, and the chart's height collapsed inside the card. They draw like the rest now.
Previews also doubled in size: one column instead of two. The whole slide used to be squeezed to 9% inside a 120-pixel card. No shape was recognizable. Now a donut looks like a donut and a funnel like a funnel.
In the donut, the slice name and its value were printed on top of each other in the legend. The value moved to its own line. And a long center label now fits the hole instead of running into the ring.
On connection maps, a long source name escaped past the slide's edge. It wraps to two lines inside the bounds now.

august · 2026

Clicks in the text field were being hijacked, and the palette now has white and your own colors

Clicking the Title or Subtitle field put the caret there and lost it a moment later: the click was being forwarded to the highlight button beside the label, and the selection died with it. That's what jammed editing and made the colors flicker. Now the click stays where you clicked.
The color bar had four tones and no white: styling a word white on a dark slide, the most common case there is, wasn't possible. Now it's the theme's six colors, white among them, followed by the last colors you used, so you don't have to hunt down your brand's code for every stretch.
The color wheel wouldn't open. It now opens the house's own panel, with a wheel and a field for pasting a hex, and the bar stays put while you choose, instead of closing mid-gesture. That palette only existed in the sidebar; it now works when editing straight on the slide too.
In select lists, the checked item sat shifted to the right of all the others. The ✓ moved to the far side and every row starts in the same place again.

august · 2026

The styling bar stopped shoving the panel, and markup never shows up on the slide

The bar that styles a stretch of text now floats: it exists only while a stretch is selected, and it no longer takes up room in the panel. It used to appear and vanish with every click inside the field, and the whole panel jumped along with it, which read as colors flickering.
Styling the same stretch twice could nest the markup inside itself, and the slide would show the code instead of the words. Now the innermost style simply wins, and the stage reads even the text already saved that way.
Select lists showed two arrows in newer browsers. The system's and ours. Now there's one.

august · 2026

Every element has edges now, and nothing floats over the slide

Titles, subtitles, hero numbers: all of them got edges to pull, like any canvas editor. Pull the sides to change width and the text reflows; pull the corner and the type size follows. Only free text boxes could do this before.
The rule got simple: size and position are settled on the slide by dragging; everything else, content, type, motion, in the element's panel. The numeric position fields left the panel: asking you to calculate a number for something you can point at was the long way round.
And the floating type window is gone. Every route to it, right-click on the element, the row in Layers, the shortcut in Text, now selects the element and opens styling in the panel, with the slide always in view.

august · 2026

Pick color by code, and two new surfaces for text

The custom color picker now opens a panel in the house's own language, with a wheel and a field for pasting a hex code: before it opened the system's grey picker, with nowhere to type your brand's color.
Select lists across the platform stopped opening white on a dark interface. And text gained two new surfaces: inscribed, where the letter sinks as if carved into the tablet, and backlit, where the light comes from behind. For lighting up a stretch on a dark stage. Paper and texture were rebuilt with fine grain, closer to real paper than to stripes.

august · 2026

Style one word, and watch the slide while you set the type

Select a stretch of text while editing on the stage and a small bar shows up right there: highlight, bold, bigger, smaller, three palette colors, and clear. It works on a single word, not the whole box. And the text stays open after you apply: style one stretch, then the next, without leaving.
Type controls moved off the slide. They used to open in a floating panel that covered the very thing you were trying to judge; now they live in the element's own panel, one tap to open or close. The preview inside them also stopped cutting the sample text in half.
And the title field no longer breaks the highlighted word down the middle. The brand accent behaves like text again, not like a separate block.

august · 2026

The free-composition slide lays out in the right place again

The Canvas slide, the one where you place each block wherever you want, was laying its content outside the visible area. The blocks existed and held the right coordinates, but rendered off the stage. Fixed: they now open exactly where you put them.
The cause was a name collision between the slide type and the container that holds the blocks, and the same collision affected bubbles, the topic wheel, and the product card to a lesser degree. All four were checked one by one.

august · 2026

The editor now answers to what you clicked, not to the tab you opened

Changing a property meant guessing which tab it lived in: Slide, Text, Layers, Cards, Animation. Click an element now and the side panel becomes ITS panel: content, position and width, type, motion, stacked in one place, no tab switching and no apply button. The tabs stay, but for what belongs to the whole slide (background, theme, transition).
And one click opens the text for writing. No second click needed. Dragging is still dragging: if the pointer moves, it moves the element; if it stays put, it edits. And while you're editing, the outline, the handles, and the little action bar stay visible instead of vanishing exactly when you're working.

august · 2026

Pull width on the stage, and the editor tells you when the gaps match

A text box's width could only be changed by typing into a number field in the sidebar: you entered a value and hoped. Text boxes now have side handles: pull one and watch the text reflow live, with the measurement showing. Pull from the left and the right edge stays put.
Anything with a height too (chart blocks, images) got a bottom and corner handle, and Shift keeps the proportion. Anything WITHOUT a size of its own, titles, hero numbers, everything the theme sizes, deliberately has no handle: type styling owns that, and a handle would promise a control that isn't there.
And when you drag an element between two others, the editor now notices when both gaps come out equal: it snaps there on its own and shows the measurement on both sides. Spacing three cards evenly stopped being mental arithmetic.

august · 2026

Drag in one gesture, and the element's actions right where you're looking

Moving anything on the stage took two gestures: a click to select, and only then click-and-drag. Now it's one. Press and you're already dragging, like any graphics editor. Hold Shift and the element joins the set, and the whole set travels together.
A small bar now sits beside whatever is selected, with the three things you do most: type, duplicate, delete. Type styling lived only behind right-click: invisible unless you happened to try it; duplicate didn't exist for elements at all; and delete was the Delete key or nothing. The bar disappears while you drag, so it never fights the gesture.
Everything else stays put: first click selects, second click opens the text for editing.

august · 2026

Copy and paste elements across slides

Duplicating only worked on whole slides. Reusing a text box elsewhere meant rebuilding it by hand and redoing position, width, and type. Now it's Ctrl+C on the element and Ctrl+V on the destination slide. Formatting and all. Ctrl+X cuts, and both work on a multi-selection.
Each paste lands offset from the last, so pasting three times gives you three visible copies instead of three stacked on the same spot. Anything that doesn't fit the destination is quietly skipped (a canvas block has nowhere to live on a cover), and the editor tells you what it did: copying has no visible effect, and silence reads as failure.
The browser's Ctrl+C stays the browser's: if you've highlighted text, the text is what gets copied. The shortcut is only ours when nothing is highlighted.

august · 2026

The editor can now grab several elements at once

Until now the editor only understood one element at a time: nudging four labels off the margin meant four selections, four drags, and four undos. Hold Shift and keep clicking, or drag a lasso across empty stage to catch everything it crosses, and Ctrl+A takes the whole slide.
The set moves as one: dragging carries everything by the same offset, arrow keys nudge everything, Delete removes everything. Each of those gestures is a single undo. One Ctrl+Z puts all four back, not one at a time.
Whichever you picked first stays the anchor: it keeps the label, the resize handle, and the right-click typography board. The rest show a thinner outline so you can tell at a glance who's who, and the Layers sidebar highlights every selected element, in both directions.

august · 2026

When a number can't be read, the platform will say so: instead of showing zero

The Company Room showed “0 presentations · 0 people” whenever a database read hiccuped. Looking exactly like a team that genuinely hadn't produced anything. You had no way to tell the difference. A failure now identifies itself as a failure, says nothing was lost, and offers to try again.
Alongside it: the invite prompt for your team, which lived behind an impossible condition (“no members besides you” never fires, because you count as a member), now actually shows up for people working solo: without hiding your own output, which stays in the table.

august · 2026

Empty screens now tell you what to do. Not just that they're empty

Every screen with nothing in it said the same thing: a grey line letting you know there was nothing. No explanation, no way forward. But the person looking at an empty screen is the one who most needs direction: it's day one.
Each one now carries three things: what doesn't exist yet, WHY it's worth having, and the button that fixes it. Brands explains what a brand does for you; Sessions explains what a session is; Review explains what happens once a piece is in, and there the button opens the form right where you are. When there's no action to take (nobody has commented yet), the screen explains what makes it fill up, because an unexplained empty screen reads as a bug.

august · 2026

We took numbers out of the platform, and it got better

We audited every number the platform showed, one at a time, and asked each one: does this change a decision you make? Whatever didn't, went. That took the whole Control Room with it. Including a “time saved” figure that was back-of-the-envelope arithmetic: decks times a 45-minute guess. A made-up number is worse than no number.
The two numbers in that room that did earn their place already had homes and kept them: output per person lives in the Company Room, AI spend lives in Billing. Every number now has exactly one owner: your close rate used to show up on three different screens, and three places for one figure is where distrust starts.
The Profile genome had five readings; it kept the one that stands on its own and unlocks the rest: how much of what you present ever gets an outcome on the record. And deck cards dropped the “READY” badge that appeared on 100% of them. A badge everyone has distinguishes no one. Drafts still speak up, as they should.

august · 2026

Done presenting? Now the platform asks how it went: right where you land

When you exit a presentation you land on the deck view, and that's where the question meets you: “You presented this deck. How did it go?”. Closed, didn't close, still open. One click. That question used to live only on the second-monitor screen, which almost nobody opens, so almost nobody was ever asked.
It only appears when it makes sense (the deck actually went on stage and has no outcome yet), disappears the moment you answer, and has a “not now” that sticks for that deck. This is the record that feeds your suggestions, the “What worked” panel, and your profile.

august · 2026

Your presentation genome: how you present, in five honest readings

In your Profile, a portrait of your style across five genes: visual identity, narrative discipline, declared intent, conversion, and memory of what worked. Each one names its source: what you SAY (the profile you fill in), what you DO (the choices across your decks), and what WORKED (the outcomes you logged).
No decorative numbers: every gene shows the fact behind it (“the X theme appears in 3 of 8 presentations”), and a gene with no data stays blank with a note on how to measure it. We'd rather not measure than invent a number about you. Up top, the one-line read: where you're solid and where there's most to gain.

august · 2026

The Team plan is here: 6 seats for R$ 150/month

Free and Pro are individual plans: they include you and no one else. For working as a team there's now Team: R$ 150 a month with 6 seats, and R$ 25 per additional seat (same price inside and outside the bundle, so growing isn't punished).
Seats are visible in the Company Room, and a pending invite already holds its place, so five links generated at once can't quietly blow past the limit. And if a seat runs out between sending the invite and someone accepting it, the acceptance says so instead of failing silently.

august · 2026

Company Room: who on your team is building, and what closes

A new page for whoever coordinates (Owner and Admin): your team's output per person, how many presentations each one built, how many have a logged outcome, and the team's close rate. People who haven't produced yet show up all the same. A report that hides the zeros lies by omission.
And presentations your agent creates stopped arriving ownerless: they're now attributed to whoever generated the connection key. As always, counts and outcomes only: nobody's slide content is read.

july · 2026

When you fix what the AI built, it learns: no form to fill in

If the agent assembles your deck and you swap the theme, you've just told it, in one click, that its pick was wrong and which one is right. That now becomes learning for your workspace and feeds the next suggestions. Same for the style, and for when you cut the slide count substantially.
With two sanity rails: it only learns what you CHOSE (never what you discarded), and only on the first pass over each AI-built deck: after that the file is yours, and editing is just editing. None of your slide content is read.

july · 2026

What closed now steers what's next: your presentations teach the platform

You could already log how each presentation ended. Closed, didn't close, still open. Now that comes back to you: a “What worked” panel in your Profile shows the close rate per theme, plus your most recent presentations with your own note sitting next to the outcome.
And your agent puts that evidence to work when it suggests. The rule is simple: frequency is habit, outcome is evidence: a theme you used ten times without closing counts for less than one used three times that closed all three. It tells you why out loud (“the presentations of yours that closed used this theme”) and it stays a suggestion: nothing applies without your say-so.

july · 2026

Images your agent finds on the web are now checked before they reach a slide

When it hunts down a photo for your deck, the platform vets the link first: it actually exists, it's an image (not the page showing it), and it's big enough for the screen. Too small and you're told it'll pixelate; portrait on a landscape stage and you're told the crop will eat the top and bottom.
The flow is explicit now: it finds, it checks, it shows you the options, and it only inserts once you pick. Not least because the right to use that image is yours, not its. And when there's no photo to be had, it reaches for the engine's own drawn backgrounds and frames, which never show up broken on stage.

july · 2026

Your agent settles craft on its own and asks about facts: then reviews its own deck before handing it over

The rule it follows is now explicit: transitions, background rhythm, how many slides, which type carries each idea. It decides those, because that's the work the platform exists to carry. Numbers, names, prices, dates, promises, quotes: it never fills those in: it asks, or leaves the gap visible. And every call it made on its own arrives noted in the handoff.
The deck's quality score now ships with the deck, too: the moment it builds, it gets the score and the shortlist of what would improve the presentation most, with instructions to fix before sending you the link. Before, that check depended on it remembering to ask.

july · 2026

Your agent now knows what it must NOT invent, and stops asking for what you already attached

Before building, it checks the resources: whether your brand is missing, whether the brand has no logo, whether a number showed up with no stated source. Each item comes with a way out. Ask you, use a legitimate stand-in (the engine's own backgrounds and device frames, say), or proceed and record the assumption. What it never does is fill the gap with invention.
And the files you attach to a session finally count: if the quarter only exists in the spreadsheet, it reads it from there instead of asking again, and that spreadsheet becomes the stated source behind the numbers.

july · 2026

Your agent now pitches the PLAN before building the deck, and you approve it (or send it back)

Before generating a single slide, your agent proposes the outline: one line per slide, with the type, that slide's single idea, and why it exists. You read it in half a minute on the session page and decide: Approve, or ask for changes with a note the agent reads and replans against.
It's the difference between steering with one sentence and rebuilding thirty slides. The plan runs through the same house rules too (opens with a cover, proves before asking for the decision, no two hero numbers back to back, ~10s per slide), and those warnings land before any slide exists, not after.

july · 2026

Want to follow along without an account? Ask to be notified when something new ships

At the top of this page you can drop your email and get a heads-up whenever something new lands. No account, no spam. Consent is explicit, and you can opt out any time.

july · 2026

In Review, a visual calendar: see the whole month and schedule each piece to a day

The Review tab gained a Calendar view: the whole month on a grid, each piece on its day: the card color shows the state (in progress, approved, scheduled…) at a glance, and today is highlighted.
Scheduling is direct: in the list below the calendar, pick each piece's date (or clear it to unschedule). Switch between Board and Calendar anytime: same queue, two reads.

july · 2026

Take your brand with you: export your Brand Kit as a file and import it into any workspace

In Brands, every brand now has an “export” action: it downloads a .pnxbrand file with your palette, fonts, logos, and references: ready to send to a colleague, another company, or keep as a backup.
And at the top of the page, “Import brand” rebuilds it all from that file, opened for you to review. It's your portable Brand Kit. The same identity, in any account.

july · 2026

A first run that's already yours: a word from the founder and 4 questions that get the panel to know you

When you create your account, a note from the founder greets you along with a quick ask: 4 questions (your goal, how often you present, what you're coming from, and the hardest part). Under a minute, and skippable at any point.
Your answers don't vanish: they land in your Profile as typical audience and notes, so suggestions, in the editor and for the connected agent, start aligned with your style from the very first deck. After that, the first-run guide and the workspace checklist continue as before.

july · 2026

Your Profile becomes a page: what you prefer now guides the suggestions: declared by you, not just inferred

New Profile page in the sidebar: on one side, your usage pattern (the themes, styles, and brands you pick most. Computed from your own decks, never from their content); on the other, the preferences you DECLARE: favorite theme and style, tone of voice, typical audience, and free-form notes.
Everything you declare becomes context for suggestions: in the editor and for the AI agent connected via MCP, which now proposes themes and language that follow YOUR profile. And it stays a suggestion: nothing applies without your confirmation.

july · 2026

Honest plans: Free includes 2 full presentations, and coupon redemption is here

The Free plan is now explicit: 2 full presentations (with PDF, public link, and live presenting). The dashboard shows how many you've used; to create a third, subscribe to Pro, or delete an old one to free the slot. No surprises, no fine print.
And Billing gained “I have a coupon”: access codes (like lifetime invites) activate instantly, and discount coupons apply the percentage right at checkout.

july · 2026

In Review, your agent now reads the feedback and delivers the next version: approval stays yours

The loop is closed: the AI agent connected via MCP could already create pieces in Review; now it also READS your comments (with the exact video second or image region you marked) and delivers the V2: the previous version stays in history, nothing is lost.
The gate hasn't moved: approving, scheduling, and changing status remain exclusively human actions, on the Review link. The agent produces; you decide.

july · 2026

On Pro, the “Made with PÍNAX” seal is yours to toggle, and the offline file now respects that choice

Control of the “Made with PÍNAX” seal got honest: on the Free plan it always shows (the box is checked and locked, with the reason in plain sight); on Pro you turn it on or off whenever you like. The stage, the public link, and the PDF all follow your choice.
And we fixed the offline package (.pnx): it used to show the footer signature even with the seal off. Now the file that opens without internet respects the same control as every other format.

july · 2026

Picking a theme now means seeing it before you apply, and switching styles never silently wipes your transitions again

The theme selector became a list with live preview: click a theme and it shows on the stage instantly; only “Apply” commits, and “Cancel” goes back. You see before you decide, with no risk.
And when you apply a Presentation Style, if any slide has a per-slide transition you set, a clear notice now appears, with the choice to keep your transitions or replace them with the style's. Nothing gets reset behind your back.

july · 2026

“Blend with the background”: cards and charts now belong to the scene, drawing the ambient color of the background

A new per-slide toggle makes cards, panels, and charts read the background's color, the edge of your background photo, the solid color you picked, or the theme accent, and echo it back in a tinted border, a contact shadow, and a subtle wash. Instead of floating like generic boxes, they settle into the scene.
It's understated by design (never loud) and exports identically to PDF and the offline file: when the photo can't be sampled, it falls back to the theme accent: always coherent, never broken.

july · 2026

The editor got sharper: a live preview when you add a slide, and right-click opens the panel for the element you actually clicked

When inserting a slide from the “+”, hover a type and a live preview pops up beside it, with the sample slide animating in. No more guessing from the name.
On the section divider, the properties panel now shows the divider types side by side (numeral, summary, you-are-here, numbered agenda, wheel): each with its own thumbnail; click to switch, keeping your title.
Right-click on the stage now opens typography for the element right under the cursor, even with large titles nearby, and it keeps hitting the right one as you move from element to element with the panel open.
And title fields got cleaner: no more nagging notices, spacing between words is preserved, and highlighting a phrase with color no longer locks your typing.

july · 2026

While presenting, you always know which topic you're on, and jump to any of them from the stage or your phone

The stage now shows the current topic in a discreet footer indicator; the T key (or a tap on it) opens the overview of all topics, with the current one highlighted. Click any and the presentation jumps straight there, with your usual transition.
Same on the phone remote: beyond next/back, you see the current topic and the full list: tap to jump to any section, great for answering an out-of-order question. Topics are just your deck's sections, nothing to set up.

july · 2026

Topic transitions came alive: the wheel rotates from one theme to the next, and the agenda shows everything then collapses onto the current point

The topic wheel now rotates: on advance, the wheel steps forward and brings the next theme to the focus point. Chained across slides, it reads like a dial turning topic by topic.
And the agenda gained a Summary → morph mode: on entry it shows all the sections for a beat, then collapses onto the current point, which grows as that section's opening. It's that premium bridge between “where we are in the whole” and “what comes now.” Live only; the PDF shows the final state.

july · 2026

New agenda and topics slides: show the whole roadmap with the current point highlighted, or a wheel that rotates from theme to theme

Agenda / Overview slide, in three formats: giant stacked words (the current one lights up), “you are here” columns, and a numbered row. Perfect to open with the roadmap, or to resume between blocks with the current point highlighted.
Topic Wheel slide: the topics live on a large arc and the active one sits at the focus point, with title and description; the others recede along the curve: the watch-dial aesthetic, elegant and organic.
And the section divider gained metadata: pairs like Region · Asia or Period · 2026 on the side, next to the giant numeral. It all tints to your theme and exports identically to PDF.

july · 2026

Metal and light tubes went more photographic, and a 3D perforated mesh with depth of field

Brushed metal and light tubes are now sculpted by real light: the metal ribs gained cylinder volume (bright on one side, shadow on the other) and the tubes gained a bright backlit core. Far closer to a photograph than a drawing.
And the 3D Perforated mesh arrived: a field of holes receding with real depth of field: a crisp in-focus band in the middle, the rest softly blurred, like a camera lens. All tint to your theme and export identically to PDF.

july · 2026

The fluted glass now refracts your photos, and brushed metal and light tubes arrived

Fluted glass now affects the image beneath it: drop in a photo and the glass refracts and frosts its lower part. Controllable up to any point you like, keeping the top clean for the title. It's the storefront-glass effect, over your own photo.
Two new backgrounds from the references: Brushed Metal (fluted metal ribs with a diagonal reflection sweeping across the surface) and Light Tubes (vertical backlit glass tubes glowing in your theme's color). Both with optional film grain for that photographic finish.

july · 2026

Fluted glass and more realistic relief: the backgrounds got a finishing pass, and now run edge to edge, no cut-off

New Fluted Glass background: vertical glass ribs that refract a glow behind them, like fluted-glass storefronts: luminous glass in the dark, a frosted luxury glass in the light. It tints to your theme's color and exports identically to PDF.
The relief got more realistic: instead of a uniform surface, it's now dark with light catching only the crests. Real peaks and valleys, like the best references. And we fixed an important finish: the relief backgrounds now run edge to edge without ever “ending” before the screen does: like a window onto a surface that continues past the frame.

july · 2026

Backgrounds with real 3D relief: peaks, valleys and textured surfaces that light sculpts. Generated on the fly, no image

Three new backgrounds with real dimension: 3D Relief (a dune-like surface of peaks and valleys carved by raking light), 3D Mesh (a grid draped over that relief, like fabric over a form) and 3D Halftone (a field of dots that follows the folds). It's not a pasted image: it's generated live, tinted to your theme's color, and exports identically to PDF.
Each one has a built-in quiet zone: the relief recedes where the title sits, so the texture impresses without ever hurting readability. It's the kind of background you see in product keynotes and hero covers. Now yours to pick, in any theme.

july · 2026

Every theme now ships with its own background, and the backgrounds went reference-grade, with real film grain and true haze

Each theme now has a signature background matched to its aesthetic, applied on its own to covers, section dividers and closers: the navy theme becomes a brushed-metal surface; the cinematic one gets a ridge of light in the dark; the editorial ones get a subtle warm haze. Zero setup, and never behind a chart or table, where a background would fight the reading.
The procedural backgrounds were refined to reference-grade: real film grain (not digital static) and a new soft, all-over haze, like the best premium wallpapers. The background library now leads with the most beautiful textures, and a star marks which one is your theme's signature.
And a “Suggest background” button picks the right background for your theme and slide type: the perfect starting point, yours to tweak. It all still exports identically to PDF.

july · 2026

Backgrounds, far more control: a solid color of your choice, a browsable texture library, and image adjustments (brightness, contrast, hue, temperature and blur)

Slide backgrounds gained a made-to-measure solid color: beyond the four house tones, you can now pick any color, and the app decides on its own whether text should go light or dark to stay legible.
The procedural textures became a browsable library: instead of a flat dropdown, a gallery with search and a live thumbnail of each pattern. You see the effect before you apply it.
And the background image got a little treatment lab: blur (to use a photo as a texture bed under the content) plus fine adjustments for brightness, contrast, saturation, hue and temperature (warm to cool). Everything exports identically to PDF.

july · 2026

The wire map is now hands-on: drag any source where you want it, and pick the color of the wires, the nodes and the labels

On the wire-map slide (the one where several sources converge on a hub), every node is now free: click and drag a source, or the hub itself, to the exact spot on the stage, and the wire linking them follows in real time. Override the auto layout whenever it isn't what you want.
And each layer got its own color: set the wire color, the connection-dot color and the label color independently, plus the wire glow strength: from subtle to neon. Put the map in your brand palette, or make one hero wire pop. It all exports identically to PDF.

july · 2026

The template library doubled: 14 templates rewritten one by one + 14 new niches, each with its own language

The 14 reference templates were rewritten one by one. Each now has its own topic, data and cover, using the new elements: the board pack brings a before→after scorecard and a capsule pipeline; the investment thesis shows the market in nested layers and revenue × margin on two axes; the dossier numbers its figures; the manifesto draws its method as a flow graph.
And 14 new niches joined the catalog, each in its own theme: Plans & Pricing (neumorphic), Climate & ESG (emerald with aurora rays: GHG scope layers), Clinic & Health (sage serif, occupancy as a tank), Security & Infra (data-room, defense layers), Real Estate (apricot, unit table), Agency Portfolio, Market Intelligence (technical plate), Expedition Brand Film (cartographic HUD), Web3, Clear Consulting, AI Brand, Product Showcase, Deep-tech and Sports & Performance. Every deck is born unique.

july · 2026

Five new elements: pricing table, level tank, capsule funnel, scope layers and matte 3D objects

Pricing/Plans slide: 2 to 4 glass plan cards with a badge (Recommended), checklist and button. The featured plan lifts with an accent ring. The commercial slide that was missing for proposals and sales pages.
Gauge in Tank mode: the indicator becomes a glass column with liquid: the level is the value, with a ruler and a dashed target. And the funnel gained Capsule mode: stages as vertical pills side by side, the key one with a gradient.
Scope slide: nested offset layers (A contains B contains C), each with a pill label on its edge. To show what's covered, layer by layer. And metric cards now accept matte 3D objects (sphere, torus, arrow, cube) as quiet decoration. Everything exports identically to PDF.
Plus nine new procedural backgrounds: Ridge (a faint crest of light at the base of a black field: huge room for the title), Dunes (matte relief), Weave (micro-cells over a fold), Halftone (dot density), Brushed steel, Blinds (corrugated light), Warm light column, Godray (aurora rays) and HUD (cartographic reticle). All switchable off, PDF-safe, and never behind dense data.

july · 2026

The line chart got real: gradient area, multiple series, a second axis, and the growth arrow

The line chart was rebuilt from scratch on a proportional canvas (no more stretching) and gained the operations-room language: a gradient-filled area under the curve, several comparative lines on one chart (each with its own color), a second axis on the right to compare quantities on different scales (e.g. revenue × margin), glowing markers on the points, and a growth arrow at the end of the curve. The classic "up and to the right". All with gridlines, axis labels and X categories. Exports identically to PDF.

july · 2026

New Distribution (Ridgeline) slide: where the weight sits, as a chain of light-peaks

A new slide type for concentration: how volume spreads across categories, and which one dominates. Each category becomes a luminous peak; the one that matters gains height, glow and a reflection, while the smaller ones stay quiet beside it. It's the right chart for "90% of the work is in a single front": instead of a cold bar, a landscape that makes the imbalance obvious in three seconds. Exports identically to PDF.

july · 2026

New Convergence slide: many sources become one catalog, and the catalog becomes command

A new slide type draws the core idea of the agent economy: many sources (spreadsheets, emails, chats, documents, systems) converging along light-wires into a single core, and, if you want, the core radiating out to the outputs (decision, action, report). It's "from chaos to catalog, from catalog to command" in a single image. Unlike the mind-map (which only gathers), this one has direction: input → catalog → command. Exports identically to PDF.

july · 2026

Every new presentation now gets a real identity. Never a generic theme just because you didn't pick one

Before, a presentation created without a brand or theme simply inherited a default look, with no heads-up. Now Pínax always asks: when generating from a briefing, each presentation type (board, marketing, investor…) already ships with its own matching visual language; when starting from scratch in the editor or Studio, you pick a brand or a theme, or explicitly confirm you want the house default. Never a generic look by omission again.
We also hardened content validation for decks written by AI agents connected via MCP: one more layer of security on deck writes, with no change to your normal workflow.

july · 2026

The Brand Kit became a hub: logos by role, preferred templates, and the references that shaped the identity

Before, a brand held one logo and a palette. Now it holds a set: separate logos for dark backgrounds, light backgrounds, an icon, and a horizontal signature; the templates that brand tends to use (Pínax now suggests those first); and a small library of references, the site screenshot, the brand guide PDF, the link, that shaped that identity, kept right there instead of being read once and discarded.
And if you generate through your own AI agent (via MCP), it can now also edit an existing brand's composition, swap the palette, the typography, add a logo, or adjust the preferred templates, without recreating the brand from scratch every round.

july · 2026

Your comparison bars can now get real depth and reflection

The 3D bar chart (bar3d) gained an optional real-rendering layer. Extruded bars with true environment reflection, the tallest one lighting up in your theme's live accent color, instead of the usual isometric drawing. It's the same real-reflection technology (PBR) already powering the 3D map: runs live, right in your browser, and falls back on its own to the regular drawing in PDFs and on any device without support: never breaks a presentation.

july · 2026

The background now talks to your photo, and you control how much

When you place a photo on a slide, the space around it stopped being generic: Pínax reads the color from the photo's own edge and uses it to light (or cast a contact shadow) around it. The photo starts belonging to the scene instead of just sitting on top of it. The treatment shifts with the theme (some prefer the photo contained with a defined shadow, others prefer it bleeding into a soft glow), always computed from your own image, never a generic color.
And if you don't like the animated background Pínax picked, there's now a "Regenerate" button, rolls a new one within the same Style's character, and a "Lock", to pin what you already like against any future regeneration.

july · 2026

Your brand from an image: upload a screenshot or a logo, Pínax pulls the palette

In the Brand Kit, besides picking seed colors by hand, you can now upload a reference image, a screenshot of your site, your logo, a piece of marketing, and Pínax extracts the dominant colors automatically, ready to fine-tune. It's color math (the same math that already derives the whole palette from the seed), never an AI reading of the image. And nothing saves on its own: extraction only fills in the starting point. You check the live contrast and confirm on "Create brand," same as always.

july · 2026

Prep the meeting, flag the moments that matter, and log the real outcome: right on the presentation

Three connected pieces: before an important presentation, prep it (objective, attendees, expected length) right from the deck's panel. While you're talking, flag a moment with a tap, objection, decision, or follow-up, without looking away from the room. And afterward, log the real outcome: did it close? get approved? still in progress? That's the signal that matters most, and now it lives with the presentation instead of in a separate spreadsheet.
All of it becomes a replay: reopen any finished presentation and see how long each slide held the room and where the moments were flagged. To learn what held attention and what needs to be tighter next time.

july · 2026

Pínax now suggests the theme and brand your workspace uses most

In the editor, once your workspace has a clear usage pattern (from 3 presentations on), a quiet suggestion shows up: the theme or brand you use most, ready to apply in one click: always dismissible, never applied on its own. It's a computed view over your own decks, never a reading of their content, and you can turn it off anytime in Settings → Privacy without affecting any presentation. If you generate through your own AI agent, it gets the same information. To ask with context instead of guessing.

july · 2026

Switching between editing and presenting now has a scene: not a hard cut

Leaving your presentation list to edit a deck, or going straight from a deck to the stage, gained its own transition: the screen settles smoothly instead of snapping over. A small detail that makes the whole platform feel like one place, not disconnected screens. It changes nothing about the transitions between the slides of a presentation. Those are two entirely separate systems. Anyone who prefers less motion gets the instant swap.

july · 2026

Review is here for everyone: the content-approval tab, in your workspace

What was in testing is now in everyone's menu: the Review tab, to approve video, social, and carousels without the WhatsApp-group chaos. Each piece opens faithful to the destination feed, the comment is pinned to the exact spot (the second of the video or the region of the image), the flow has six color-coded states, and your AI agent can report the calendar's status (which pieces are approved, which are waiting). Included in Pro, no new charge.

july · 2026

Review: comment by clicking the exact spot on an image, and compare versions side by side

Spatial feedback came to images and carousels: click the exact spot where something needs to change and the comment is pinned there. Then click the marker to jump straight to it (the same we already did by timestamp on video). And versioning landed: every new version of a piece keeps the previous one (nothing is lost), and you compare the current with any older version side by side, in the faithful feed frame. Approving stops being guesswork: you point to what, where, and in which version.

july · 2026

In Review, add media by upload, a Drive link, or let your AI drop it in directly

The Review tab gained its media sources: upload an image directly, or paste a Google Drive, Dropbox, or plain URL: the file is referenced, never duplicated, and the preview opens faithful to the destination feed. Best of all: if your AI agent has access to your Drive or storage, it adds the piece straight into Review (the AI is yours; the platform just organizes the approval). And a first-run quick-start guide appears so you begin without getting lost.

july · 2026

Dragging on the stage now has physics. Guides anticipate alignment and the element settles

Moving an element on the stage now has feel: smart guides light up before you reach the spot, slide center, safe-area margins, the edges and centers of other elements, and it magnetically snaps there (hold Ctrl to break free). On release, the element settles with a soft landing spring instead of a hard snap. No inertia to fight your aim: it stops exactly where you dropped it. Anyone who prefers less motion gets the snap without the settle.

july · 2026

The readiness panel now knows your goal, and calls out the missing pieces

When you start a presentation from the goal (win an investment, close a proposal, report results, back a diagnosis), that archetype is stored with the deck. The readiness panel then checks for the pieces that goal requires: a commercial proposal with no investment slide, a diagnosis with no evidence, a results deck with no decision asked. It shows which archetype it's checking against, so you know where each warning comes from, and it all stays deterministic, no AI.

july · 2026

The conviction ruler now sees the ORDER of the story: not just each slide

The Conviction Score no longer looks only slide by slide: it now checks the sequence that convinces. It flags when the proof shows up after the close (the room hears the conclusion before seeing the data) and when the deck asks for the decision without having shown evidence first. And when your agent declares the chosen archetype (persuasion, proposal, results, diagnosis), the ruler checks whether an essential piece is missing. A commercial proposal with no investment slide, a diagnosis with no evidence. Still fully deterministic, no AI, free, and the same order check already shows in the editor's readiness panel.

july · 2026

Your AI agent now gets the deck's conviction score, and knows where to improve

When you generate through your own agent (Claude Code, the Claude connector, Codex, Gemini…), it now reads, alongside the deck, the Conviction Score: a 0–100 rating of how ready the deck is to convince, broken into six dimensions, and, most useful, the list of what to fix, with the exact slide and the concrete action. The agent measures, fixes what's weak, and re-checks, on its own, until the deck gets there. The rubric is deterministic and runs for free; the judgment of argument strength stays with your agent. The AI is yours: the platform provides the ruler.

july · 2026

When the presentation is ready to convince, the moment is marked: soberly

The instant your deck crosses the line and is ready to convince (high conviction, no technical points left open), the readiness panel acknowledges the milestone: a single quiet gleam passes across and settles. No confetti, no medal, no “congrats!”: an executive acknowledgment, worthy of the work. In Executive Mode and for anyone who prefers less motion, the milestone stays silent.

july · 2026

Switching editor sections now has motion. The panel slides into place

When you switch between editor sections (Slide, Text, Layers, Data, Animations…), the panel slides gently into place instead of snapping. A small detail that makes the editor feel like a studio, not a form. In Executive Mode the motion is gone, and anyone who prefers less animation gets the instant swap.

july · 2026

The editor breathes now: a living, quiet atmosphere behind your work

The editing space is no longer a dead screen: a very slow, diffuse glow in the brand's color drifts behind the workspace. Enough to feel alive, never enough to distract. It's continuous and calm, so it never reads as a status or loading indicator. In Executive Mode it disappears, and anyone who prefers less motion gets the atmosphere held still.

july · 2026

Nothing freezes the screen anymore: confirmations are inline, and undo is generous

We adopted a principle across the whole editor: no blocking pop-up interrupts your work. The confirmations that still make sense (like deleting a brand) became a double tap on the button itself, “delete” → “confirm?”, with no box that freezes the page. Saving is automatic and imperceptible, and undo (Ctrl+Z) covers even dragging and resizing on the stage, one step per gesture. You're never stuck in a dialog, and you never lose work.

july · 2026

The wait to generate a deck now narrates the work: in a working tone

When the AI builds a deck from your brief, the screen no longer shows a mute “Generating…”. It now tells you the real step, in an executive tone: reading the brief and isolating the anchor numbers, resolving genre and setting, laying out the narrative architecture, composing the slides, applying theme and pace. The messages advance and hold on the last one: no cute copy, no fake progress bar. You know what the system is doing while you wait.

july · 2026

Start from the goal. Pick the outcome you want, not a form

On the create screen, you now start from what you're trying to achieve: “Win approval for an investment,” “Close a commercial proposal,” “Report on a result,” “Back a diagnosis.” Each card shows a preview of the spine, the sequence of slides it'll build, and one click opens the editor with that structure ready to fill. No questionnaire, no guessing: you pick the destination and the presentation is already on the right track.

july · 2026

The entrance settles in gently: only the first time, and you can skip it

On your first visit to the sign-in screen, the elements settle in with a short, soft cascade. A contained arrival, in the brand's key. From the second time on, the screen is simply there, instant: you don't wait through an animation on every login. And it's always skippable: the first click, key, or scroll settles everything at once. Anyone who prefers less motion gets the static screen, straight to the point.

july · 2026

The editor's lists now answer to your touch. Items are born, items dissolve

Small gestures that make the editor feel alive: when you add an item to a list (cards, points, steps), it's born with a soft spring instead of just appearing; when you remove one, it dissolves, shrinks and fades, instead of blinking out. It's quick, understated, and never breaks your rhythm. Anyone who prefers less motion (or runs Executive Mode) gets the instant swap, no animation.

july · 2026

A pre-flight check before you present: “ready to convince”

The Readiness section became a pre-flight screen: in one place it brings together the deck's conviction (density, hierarchy), the reading (no animated background competing with the data) and technical readiness. Pace and estimated time, opening and closing, fonts loaded, the closer's QR, and the offline backup. When it's all solid, it says the line that matters: “Your presentation is ready to convince.” Nothing blocks: it's counsel at the moment of highest tension, seconds before you present.

july · 2026

Executive Mode. The editor goes calm when you want focus

A switch at the top of the editor: turn on Executive Mode and the interface recedes into a sober surface, less color, less noise, less motion, for when you just want to think and decide. Your presentation keeps its real colors on the stage; only the editor goes calm. You flip it on and off instantly, and it remembers your preference. Nothing is guessed: the screen only changes because you changed it.

july · 2026

The camera gained depth: selective focus where the device can handle it

Beyond push/pull/focus, impact slides now have a camera with DEPTH: the slide's background sits slightly behind while the number or title snaps sharp. A cinematic selective focus. It only turns on where the device can handle it (an automatic capability check) and, where it can't, falls back on its own to the simple focus: never stalls, never vanishes without explanation.

july · 2026

A camera for your impact slides. Push in, pull back, focus

Cover, section, number, and closing slides can now carry a live camera gesture: push-in (a slow, cinematic zoom), pull-back, or focus (the slide enters slightly blurred and sharpens). It's the weight of a keynote, and the engine NEVER applies it over a chart or table, where a moving camera would compete with reading. In the PDF and with “reduced motion,” it all stays still.

july · 2026

Backgrounds that respect the eyes, and warn when they compete with the data

Background motion now has a safety cap: no pulsing glow exceeds the recommended flash limit (the WCAG photosensitivity guideline): per slide, and the system's “reduced motion” preference freezes it all. And when you put an animated background behind a chart or table, the editor gives a gentle nudge: the ambient competes with reading there: “none” or the subtle grain work better.

july · 2026

One visual that transforms across the deck: card becomes chart becomes KPI

Now a card, a chart, or a KPI can TRAVEL and transform from one slide to the next, like a single object moving through the presentation. Not loose jumps, a metamorphosis. In the Animations section, the “Chain” panel shows the sequence (e.g., Bento → Chart → KPI) and lets you link this slide's visual to the previous one in a click. Live; in the PDF, each link shows in its final state.

july · 2026

Slides that become one scene: the background doesn't cut

Mark consecutive slides as “continuous scene” (in the Transitions section) and the background stops cutting on the change: it flows from one slide to the next while only the content shifts on top. The feel of changing scene, not changing slide. Works best with a shared animated background. Live; in the PDF, the normal cut.

july · 2026

Tune the motion slide by slide: from restrained to grand

Each slide now has its own motion-intensity control, in the Animations section. By default it inherits the deck style's tone, but you can make a slide more restrained or more grand with one nudge, and each element is still fine-tuned on its own. It's the right hierarchy: the style sets the tone, the slide adjusts the scene, the element nails the detail. One click goes back to inheriting from the deck.

july · 2026

A cinematic opening for your cover

The cover can now have an opening sequence: your monogram blooms in the center (or a curtain rises) and only then does the title appear. The weight of a tech keynote's opening. Turn it on with a click, choose the choreography and the symbol, and preview it right in the editor with “live” mode. No sound (never surprises the room). In the PDF and thumbnails, the final cover shows straight away.

july · 2026

A QR on the closing slide: the audience leaves with the action in hand

The closing slide now takes a QR code with a call to action: write the link (your proposal, your WhatsApp, a booking page) and the QR appears ready beside the closing text. It's the bridge from the stage to the next conversation. The audience points a camera and takes the next step. It renders the same on stage, in the PDF, and in the offline file.

july · 2026

Styling a stretch of text is now easy: color, font, and size, no fumble

Select a piece of the title or body and paint it with a brand color or a custom one, switch the font for just that stretch (display, body, or mono), make it bolder or resize it. The selection no longer slips away when you click the style bar. What used to apply to nothing now lands on the right stretch. And per-stretch font, which was missing, is here.
The AI-key notice stopped getting in the way: when it shows, it clears on its own and the moment you start typing again: your writing flow stays clean.

july · 2026

The editor now responds. Every gesture has feedback

Motion OS has begun: the editor came alive to the touch. Every button dips slightly when clicked, the selection outline pops in when you pick an element, the typography panel eases in instead of blinking, and a freshly added card slides into place. Millisecond details, with the same signature across the whole interface: the difference between “has animation” and “feels like a premium product”. All of it respects the system's reduced-motion preference.

july · 2026

See the motion while you edit, and color every element

New “live” button in the editor: turn it on and the stage actually runs while you edit. Card loops, hover, video, and the 3D object come alive right there, without entering presentation mode. Judge the movement before you save, in real time.
And the nested circles (TAM/SAM/SOM) gained per-ring color and an entrance animation: each circle grows from the center in a cascade. The same per-element color reached the KPI quadrant too: pick each cell's tone (it tints the sparkline and the number).

july · 2026

An object of light in the dark: in real 3D

The 3D luminous object is here: a metal sculpture (or an orb) that catches the light's reflection and glows in your brand color, behind the content: that tech-keynote cover touch. It's real 3D, with physical reflections, not a drawing. Pick the shape (sculpture, ring, or orb) and, if you like, let it spin slowly. It shines on dark covers and closers; repeat it on the next slide and it seems to travel through the transition.
It bows out when it shouldn't add weight: in the PDF, the offline file, and thumbnails it becomes a halo of light in the same spot. Nothing stalls, nothing breaks.

july · 2026

Three more from the re-analysis: market circles, an LED screen, and a cinematic style

Nested circles (TAM/SAM/SOM): a clear way to show the size of the opportunity: three circles that contain one another, from the total market down to what you can actually capture, with the reachable slice highlighted. The market-sizing slide you were missing, different from bubbles or sonar (which say something else).
New Stage / LED framing: give a cover or closing slide the feel of a giant screen in a dark auditorium. A screen glow and a room vignette, without overdoing it. Keynote impact in one click.
And a new style, Aurora Orbit: a dark backdrop with a breathing object of light, slow cross-dissolves, and the hero number blooming into place. For pitches and launches with a cinematic feel.

july · 2026

From studying the world's best decks: a KPI quadrant, a lit card, and a calm theme

The KPI quadrant is here: a results board where each cell shows an indicator's BEFORE → AFTER, with a sparkline and the change already colored: a drop in cost or time shows green, because lower is better. The pilot-results slide you were missing: the whole story at a glance.
New “Lit” finish: the slide's most important card is backlit, a glow coming from behind it, while the rest recede. The eye goes straight to what matters. Works in light and dark themes, and exports the same to PDF.
And a new theme, Eucalyptus: desaturated sage + coffee with a warm serif. Calm and premium, for accounting boards and institutional decks that want restraint without coldness.

july · 2026

Editing an element is now direct: double-click and the right editor opens

Double-click an element on the slide, a chart, a flow node, a canvas block, and the editor jumps straight to the section that edits THAT element (Cards & Charts for data, Text for a loose box). No more hunting for where to make the change.
Selection now calls each thing by name: click a flow node and the tag reads “Start” or “Condition”, not an internal code. And right-click opens the typography for the exact element you clicked: always the right one.

july · 2026

A new type: the Flow: Start → Condition → Action

The Flow arrived: a process graph where you draw nodes, Start, Condition, Action, End, connected by glowing curved lines. It's the way to show how something works: an automation, a journey, a decision pipeline. Each node has its role (Start takes the brand accent, Condition gets the diamond) and you place each one wherever you want.

july · 2026

The canvas got charts, and more control over every block

The free canvas now takes CHARTS: drop a mini line chart (with a filled area) or a bar chart anywhere on the slide and build a full summary panel: numbers, cards, and a chart together, each where you want it. The findings panel that was missing.
And every block got more controllable: choose the card's surface (glass or paper) and manage depth with bring to front / send to back. All draggable on stage, rendering the same in the PDF and the offline file.

july · 2026

Free canvas. Compose one slide from many elements

The free canvas arrived: a canvas-slide where you place several elements, numbers, cards, and text, freely, dragging each one wherever you want. It's the answer for the summary slide, the panel, the dashboard: when the whole needs to appear at once, not one idea at a time. Add a block, drag it into place, edit its content in the panel. Magnets snap it into alignment (hold Ctrl to release).
The rest of the platform stays true to the one-idea-per-slide doctrine: the canvas is the deliberate exception, for when you need to compose. It renders the same on stage, in the PDF, and in the offline file.

july · 2026

Pick the right chart in one click, and bring the cards to life

The Elements section became a real catalog: pick from the chart and visual types, number, comparison, trend, composition, geographic, process, product, grid, media, and the slide becomes that visual, already carrying example data to edit and preserving the context (title, background, notes). Before, you could only edit what was already there; now you insert the visual you want.
And cards got their own look and motion: surface (glass, paper, faded), looping movement (float, sway, tilt, glow…), and hover effects (lift, glow, tilt, reveal. The last one focuses the card under the cursor and pulls the others back). Everything in its place: what belongs to the slide (background, frame) stayed in the Slide section; what belongs to the card went with the cards. Stage and web animate; the PDF freezes.

july · 2026

Backgrounds with depth, and a grain that gives them soul

Four new backgrounds arrived, all procedural (the engine draws them: no heavy image) and true to the new brand: Granulado, a calm near-black base with a blue glow and film texture, safe behind any content; Ripas, vertical light blades for a striking cover; Contorno, a single thin light line on absolute black, for the stage and the LED wall; and Líquido, dark curves with a rim of light, in the spirit of a keynote.
And film grain became its own control: a slider that adds texture to the background. Subtle when the brand wants restraint, more present when the cover wants character. It all renders the same on stage, in the PDF, and in the offline file, and respects anyone who prefers less motion.

july · 2026

A number that tells you whether your deck will land

The question nobody answered, "does this convince?", now has a score. The editor gained a Readiness panel: a 0–100 rating that measures your deck against the house doctrine on six fronts: clarity, hierarchy, structure, focus, contrast, and motion. No opinion, no AI: it's the same math the best presenters run on instinct, done for you by rule.
And the most useful part isn't the number. It's the fix list that comes with it: each one names the exact slide and gives the action ("mark the number that matters as the hero", "this slide has 52 words, the line is 40"). Click and the platform takes you straight to the slide. It never blocks a thing; the presenter decides. When it's solid, the score says the one thing you want to hear seconds before you walk in: your presentation is ready to convince.
Building through the connected AI benefits too: the AI now knows that same rubric before it writes, so it aims for the deck that convinces: not one that just fills the screen.

july · 2026

A new face, and an editor that coaches your composition

The platform put on the new PÍNAX identity: near-black, a single electric blue used sparingly, and lighter type. The weight comes from size and space, not from bold. Less color, more focus.
And the emphasis in your lines (that one word that gets color) is now yours to set: pick your accent color and it paints the highlights across the whole deck, no code required.
In the editor, a composition coach: as you build, the platform gently flags when a slide has too many equal-weight points, when it lacks a hero number, or when the accent shows up in more than one place. It never blocks: it advises, you decide. The same doctrine PÍNAX preaches, now taught right on the canvas.

july · 2026

New ways to show a number, and charts that glow

There are new ways to present data with impact: a line chart can show the value at each point, or just the points, no numbers, when what matters is watching it climb or fall, and the curve can pick up a glow, the market-report look.
Two proportion visuals: luminous rings, where the lit part of each ring is the value itself (33%, 48% and 67% side by side), and spheres. Balls with real depth whose size grows with the number, for when a breakdown needs visual weight.
And the glass panels got more refined: the light comes from above and the depth is layered: it reads like real glass, not a translucent rectangle.
Three more formats landed: the tabbed card, where one screen shows the problem on one tab and the fix on the next (the arrow flips through tabs before advancing the slide, on both the console and your phone); the wire map, where several sources converge on a central point through lines that glow. For when everything integrates into one place; and the product card, a glass frame with metric pills and a mini bar chart (one bar lit, plus the average line): the way to announce a feature or a case.

july · 2026

Every template speaks its own language, and your brand paints the whole deck

Visuals are no longer the same layout in fresh paint: each one now composes its own way. The Dossier became an audit document. Ledger rows, a section index, the chart as the argument, zero color; Swiss Paper became a poster: colossal type, forecast columns, black on white. The narrative stays the same (one idea per slide); it's the visual that gained an accent.
And when you have a saved brand, it now governs the whole deck from slide 1. The color, the typeface and the signature become truly yours. Building through the connected AI, it also suggests the look your content calls for: a sober consultancy doesn't get the same face as a launch: no more one-size-fits-all.

july · 2026

The AI now proposes instead of just asking, and learns your taste

When you build a deck by talking to the AI (through the MCP connection), it now arrives with a proposal: it reads your brief, works out what kind of presentation this is, and suggests the structure, the look, the motion and even what to animate. Always explaining why, and asking one thing at a time. The final word is still yours; what changes is that you no longer get a list of options thrown at you when you came for help.
And it learns: your organization's choices become preferences, so the next conversation starts already knowing your taste: as a bias, never as a rule. If you don't have a brand, the AI can build one: the palette is derived by color math and goes through the same legibility checks as the rest of the platform. An unreadable brand never ships.
In the editor: set up one element's animation and want it on the others? One click applies it to all (your dragged position is preserved). Two new transitions arrived: Blinds, which opens in slats, and Focus, where the slide arrives blurred and resolves. And each element can now take its own surface: paper, texture, or faded. The last one to make the context recede so only the essential stays in focus.

july · 2026

Every look now has its own geometry: not just different colors

Until now, switching looks changed color, type and motion, but the shape stayed the same. Now each one carries its own geometry: Swiss Paper and Dossier have square corners and heavy rules; Sereno and Showcase have soft, wide-cornered cards; Boutique has almost no frame at all, because the weight lives in the serif. Even the size of the display type shifts: Stage Violet carries the most colossal numeral, Editorial the densest.
And two missing looks arrived: Poster (flat color blocks and heavy black type: no gradient, no shadow, no rounded corner: it's a poster, not an interface) and Duotone, built for decks where photography leads and everything else steps aside. That's 23 looks and 111 starting points.

july · 2026

Panel Mode: your deck now understands what an LED wall is

An LED wall isn't just a big monitor, and the platform now treats it as what it is. Declare the screen as LED and the engine adjusts on its own: white stops burning (at 1,000 nits pure white bleeds light and tires the room), black lifts a notch (otherwise module noise and the seams between panels show), thin rules thicken (a 1px line falls between two LEDs and flickers) and subtle motion switches off (panels have high persistence, so fine drift becomes smear). Glow stays: glow doesn't smear.
Four composition patterns pulled from real references also landed: the number inside a pill that bleeds off the edge, the timeline as a numbered stepper, fully rounded bars, and registration marks: the printer's proof corners that say “this is a document”.
Plus four new narrative structures, Brand Film, QBR, All-Hands and Research/Whitepaper, taking ready-made starting points from 77 to 105.

july · 2026

Ten new looks, and starting points jumped from 30 to 77

The visual library nearly doubled: 21 themes and 26 styles. Among the new ones. Monochrome Noir (black, a serif, and a number that glows, with no color at all), Swiss Dossier (zero color, the chart as the argument), Showcase Light (where color doesn't paint, it illuminates), Stage Violet, Night Mint, Clear Azimuth, Neon Flow, Commercial Ember and Radiant Lime.
Each has its own palette, typography and motion: not the same cover repainted. And since every look combines with the narrative structures, ready-made starting points went from 30 to 77: from a sober board deck to an LED wall, it's easier to find one that already looks like you.

july · 2026

The brand is in from slide 1. Choose it right at the start

When you open a new presentation, the platform now asks up front whether you want to use one of your saved brands. “No brand” is still the honest default, but now it's a conscious choice, not an oversight.
Picked a brand? The footer signature fills itself in with its name, and the palette, font and logo start driving the deck from the very first slide. Switching brands rewrites the signature: without ever erasing text you typed by hand.

july · 2026

The transition's timing is yours now. Duration and curve, per slide

Each transition can have its own duration and its own motion curve: a sharper, faster zoom on a divider, a slow soft fade on a breather. The pace used to come only from the theme; now you tune it slide by slide, and one button applies the same timing to all at once.
The adjustment is faithful: what you see in the editor's “Play” is exactly what comes out when presenting, in the public link and in the offline file.

july · 2026

Paint a single word: color, weight and size on the exact stretch you pick

Select a word in the title (or any text) and give it the brand color, bold, or a bigger size. Without touching the rest of the sentence. The highlight used to be one flavor; now the control is over the exact stretch, with a little bar that appears while you edit.
It's controlled on purpose: colors come from the theme palette (or a tone you choose) and size is capped: no text that runs away. And the refinement travels with it: it looks the same when presenting, in the PDF and in the offline file.

july · 2026

Cards and charts with color and depth. The fine control that was missing

Every card in a bento can now carry its own color: an accent bar and a tinted number that always stays readable (the platform anchors the tone toward dark so it never fades into invisible text). It's the difference between a panel that's merely tidy and one with real color hierarchy.
Charts got their own accent color: pie, funnel, gauge, bars and the map: pick the brand color of the moment without depending on the theme. And the 3D map surfaced the controls that only lived under the hood: move the camera in on a region as you advance, the duration of that move, and a metallic relief layer with real reflections for the highest-impact moments.

july · 2026

Your phone is now a real remote, with a stage clock and highlights at your fingertip

Beyond next and back, the phone now has a stage timer: it starts on its own when the presentation opens, and you pause or reset it with a tap. Pace in hand, no glancing at a clock.
And you can drive the highlights straight from the phone: when a slide has cards or items, they show up as buttons: tap one and the stage spotlights that element instantly, no need to step through in order.

july · 2026

A public link that presents itself. When you want, at the pace you want

The public link (/s) got a self-running mode: turn it on in the editor and the link opens already presenting, advances on its own and stops on the last slide: made for a webinar, a kiosk, or sending to whoever missed the room. Whoever opens it can pause anytime.
The timing is yours: one general pace for the whole deck and, when you need it, a per-slide time. Hold longer on a dense chart, breeze past a divider. And by default the link stays put until the viewer hits “auto”: the platform never promises an autoplay you didn't switch on.

july · 2026

Text always legible: a slide can no longer ship with invisible type

Light text on a light background (or vice-versa) simply doesn't pass anymore: on save, the platform catches the illegible color, reverts to the theme's correct color and tells you what it changed. Applies to everything. Decks by hand, by your AI, or via the connector.
We also fixed two old spots where chart numbers and diagram labels could vanish on light slides. And an automated check now runs on every build, guaranteeing all 11 themes are born legible on all three backgrounds.

july · 2026

Reorder cards and items by dragging, and phone control is now instant

You can now reorder a bento's cards, a list's items, a chart's bars and a map's points: a ⠿ handle shows up next to each: just drag. The highlight and fine position nudges follow the card, not its old slot.
Controlling the presentation from your phone is now instant. The slide moves on tap, no more half-second wait. And two quick taps count as two, instead of collapsing into one.

july · 2026

Edited and saved? It shows up right away, and the deck screen got simpler

Fixed a problem where a saved edit sometimes didn't show when you presented right after: the change now applies the first time, no reload needed.
The deck screen no longer has four buttons that looked alike: now there's one clear one, Present, with the variants (second monitor, screens & LED) tucked into a menu, for when you need them. Export collapsed into one place too.

july · 2026

Controlling the presentation from your phone now just works

Before, you had to go through a setup screen for the phone to drive the slides, and even then it often didn't catch. Now every presentation is born ready for it: press C on screen, point your phone's camera at the QR, and advance from your pocket.
The phone now tells the truth about the connection: it shows "live" only when a presentation is actually open on the other side, and "looking for the stage…" when there isn't. No more that fake "it worked" when nothing happened.

july · 2026

Pínax is now a Claude connector. Paste the address, sign in, done

Plug Pínax into Claude (web or app) as a connector: it sees your presentations as tools and builds the deck mid-conversation, without you leaving the chat.
No key, no code, no secret to paste: you paste one address, hit Connect, and a screen of ours asks for your permission: like signing in to any site. Claude never sees your password.
You pick the workspace as you authorize, and the permission respects your role: a viewer grants read-only even if the app asks to edit. Disconnect whenever you like.
Prefer the terminal? Claude Code, Cursor, n8n and your own agents still connect with the platform key in Settings → Connection. Both paths hit the same server with the same tools.
Connection now lists every connected app, when it joined, when it last ran, whether it can edit or only read, and disconnects any of them in one click.
All 11 themes now work for your AI too: Boutique, Mercury, Swiss, Product and Atelier existed in the platform but were rejected whenever an agent asked for them. It can pick any of them now.

july · 2026

Forgot your password? Now you fix it yourself, in under a minute

New "Forgot password" screen on login: enter your email, get a link, set a new password. No need to contact anyone. The link is valid for 1 hour and works only once.
For security, resetting your password ends every active session on every device right away: you sign back in with just the new password, everywhere.

july · 2026

The engine learned film physics, and the editor got a command console

The 3D map camera truly FLIES now: instead of sliding in a straight line, it travels a crane arc with perceptually honest zoom steps, and on state-to-state flights it pulls back slightly mid-journey before diving in, the way a documentary would.
Ctrl+K in the editor opens the command palette: type to jump to any slide, add any slide type, duplicate, undo, play, save. Hands never leave the keyboard. Full arrow-key and screen-reader navigation.
New Liquid transition: the next slide flows over the current one in merging blobs. Plus Focus Reveal: the photograph arrives blurred and resolves as the slide settles.
Two new living backgrounds: Current (a field of points drifting like slow water) and Breathe (a gradient that breathes in YOUR brand's colors: never a fixed palette).
Automatic micro-typography: on save, straight quotes become curly, three dots become an ellipsis, a loose hyphen becomes an em dash. Across everything you write, without you thinking about it. Conservative by design: it never touches links, numbers or compound words.
Color blends in charts and photo treatments now interpolate in perceptual space (oklab): the midpoint between two colors no longer sinks into darkness: the invisible detail that separates web from cinema.
The brand editor gained APCA contrast (the foundation of the upcoming WCAG 3) alongside WCAG: the correct contrast reading for light text on dark backgrounds. Exactly where your presentations live.
And typography took a breath: small text renders at the correct optical size, headlines never strand a lone word, body copy hyphenates in the deck's language (PDF included), and the Atelier theme unlocks Fraunces' own expressive axes.

july · 2026

The everyday slide got serious, and your account got a glass door

New mockup slide: declare the device (iPhone, laptop, desktop or browser) and drop in the screenshot: the engine draws the vector frame around it, subtle tilt and contact shadow included. The most common slide in any product pitch, now native: no more pasted iPhone photos.
Treated photos: any background photograph can wear the deck's palette (restrained duotone + grain + vignette) and pick up a slow documentary-style pan (Ken Burns) on dwell slides. Plus chromeless video: the clip becomes part of the composition, no player bar, no buttons, and the PDF freezes on the poster.
Live screen inside a slide (beta): during a training session, stream a window from this machine INSIDE the presentation. The demo happens without alt-tabbing, and stopping is one click.
The 3D map now introduces itself: as the camera closes in on a state, the names of regions with data fade in quietly over the floor: clean from afar, self-explanatory up close.
Sign-up with real email verification and real consent: you check what you accept (Terms, Privacy, age of majority, and marketing is opt-in, never pre-checked), every choice is recorded with version and date, and the confirmation link lands in your inbox.
Privacy portal in Settings: export your data in one click, review your consent history, change your marketing choice anytime, and actually delete your account (along with your organizations, when you're the only member).
Terms of Service and Privacy Policy published (final legal review in progress, and labeled as such), with the legal basis explained per purpose, a DPO channel and response deadlines. And the cookie banner tells the truth: only essential cookies exist today, and the banner says so.

july · 2026

The site became a presentation, and the Founder offer changed

The home now behaves like the product: sections arrive like slides (scroll-driven horizontal transitions), use cases pile up and open onto a clickable stage, and the console + phone are LIVE demos. Click Advance and the stage beside it actually obeys.
The signature demos itself: a name gets typed and the cursive draws itself, with the stamp settling at the end. And the AI chat now closes on the LIVE Brazil map, camera easing into the state: not a screenshot.
The Pro pricing card got dark solid glass with a living gradient, a glow that follows your mouse, a magnetic button, and the numbers count up smoothly when you switch monthly/annual or R$/US$.
Updated Founder offer: permanent badge, 1 month of Pro free, EVERYTHING that exists today unlocked for life, and early access to new features: for the first 1000.
Simpler AI rule: any agent that speaks MCP or has an API key can already build decks here.

july · 2026

Built for YOUR screen: big desktops are first-class now

On large monitors (and at the zoom level you actually browse at), the whole platform now scales with you: no more narrow column stranded in the middle of the screen. The editor, the preflight and the dashboard grow in proportion.
The site breathes again: on tall screens, every idea owns its own screenful: the scroll journey reads as a sequence of scenes, not a cramped corridor.
And the editor is pixel-steady: filmstrip thumbnails and the stage open at the exact scale from the very first frame. No more mis-sized flash while loading.

july · 2026

One presentation, many screens: LED walls included

Screens & LED in the preflight: pick the stage's shape (16:9, 21:9 wide, 9:16 vertical totem…), the audience distance (content scales up to read from afar), and split the canvas across up to 4 physical screens. Each screen opens its own link (QR) and FOLLOWS the presenter on its own. Transitions play on every slice, in unison.
If a screen drops off the network, it doesn't freeze: it holds the slide and realigns by itself when the connection returns. A screen never commands: it only follows (control stays exclusively with the presenter).

july · 2026

The brand got a home of its own, and the whole platform speaks English

The brand guide became a living page at /en/brand: the principles, the Alexandria Blue palette with click-to-copy hex, the real golden-ratio type scale, and the Π monogram rendered across all 11 themes straight from the product's engine. Not images, the registry itself (change a theme in the product, the page follows). Brand files ship as downloadable SVGs.
The ENTIRE platform now speaks native English: dashboard, editor (down to the last typography panel), emails, and the public sample deck in English. One click on PT | EN in the sidebar switches everything; Portuguese remains the default. YOUR content (titles, briefings) is never translated.

july · 2026

Closing the deal became part of the presentation

Real depth on the site: sections now have layers moving at different speeds on scroll (disciplined parallax. Subtle, never queasy), cards respond in 2.5D to the mouse, and device frames tilt gently while the content lives inside them. All of it switches off if you prefer less motion.
Living Gallery: a new slide type where cards move ON THEIR OWN: real physics (they drift, breathe, and ease to a stop when you focus a card). Perfect for a breather, Q&A or portfolio moment: the presentation stays alive while you talk. In the PDF, it freezes on the center card.
The site's theme gallery got the same physics: it drifts by itself, drags with real momentum (let go and it keeps going, braking like a physical object), and the theme at the center is always the hero.
The site speaks native English: home, pricing, story, docs, guide, changelog and support transcreated under /en (rewritten by concept, not translated), with USD pricing, live demos in English and a PT ⇄ EN switch in the nav. And the engine went polyglot: numbers, count-ups, odometers and charts follow the deck's language.
Pínax Package (.pnx): your whole presentation in a single file. Opens with a double-click in any browser, no internet, nothing to install, with ALL the motion (transitions, spin, odometer, choreography, map). Send it by email or thumb drive; what PowerPoint exports frozen, this ships alive.
Spin (3D flip): beyond Magic Move, an element can now FLIP between slides: a two-faced object revealing its back, with light peaking at the apex. For topic changes; morph remains for the same data evolving.
Odometer on the hero number: every digit is a mechanical reel that slides and LOCKS into place. The rightmost settle first, like a Solari board. For the result that deserves physical weight.
Living transition gallery in the editor: options demo themselves in miniature (a wave sweeps the shelf) and the ones that fit YOUR slide come first, marked with ✦: the same hint the AI receives.
Transition choreography: different elements behave differently in the SAME change. The number resolves first, the background morphs underneath, the label confirms last. With ready-made recipes, each layer on its own clock.
Ambient tilt: a photo or 3D object can breathe subtly while the slide is on screen: life in a still slide, never competing with the content.
Your AI, your bill: Billing now shows the month's real AI spend (tokens × YOUR provider's price). Money Pínax never touches, with an honest estimate of what a market markup would have cost you.
Signature on the last slide: in a public proposal, the signing QR appears when the presentation ends: the client signs on their phone (the cursive draws itself as they type) and the PDF comes out stamped.
Public feedback board (in Support): suggest, vote and track status. What rises becomes priority.
New site in 5 acts, with the platform's real engine running inside the page (no mockups).

july · 2026

Honest monetization + The Guard

Pro plan at $9/month: it pays for the platform, never for the AI (which is yours, through your key).
Genuinely free: unlimited no-AI decks + 5 AI generations per month via your agent.
The Guard: permanent security auditing, RLS isolation, anti-SSRF, rate limiting, encrypted keys, with suites that run on every deploy.

june–july · 2026

The presenting engine

11 themes and 16 motion styles, from the sober boardroom to the cinematic stage, and your brand overrides any of them.
Magic Move (continuity): titles and numbers travel between slides, on the theme's spring.
3D map with a live camera (the geographic zoom advances with the arrow key) and an optional WebGL layer.
Preflight console + phone remote via QR. Present with no cable, no app.
Faithful PPTX export (native, editable shapes), free PDF, and a leave-behind Document with DOCX.
MCP connection: Claude, Codex and Gemini create and edit decks with narrow-scope per-session keys.

what comes next? the public board decides with us