a case study of graphic designers and computers · posed a threat to graphic design or given it an...

Jonathan Jeffery 29/03/2019

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In what ways has technological innovation and development posed a threat to graphic design or given it an opportunity to

flourish in new directions?

A Case study of Graphic Designers and Computers The evolution of modern technology has transformed the creative industry since

1984 when the first computer to feature a graphical interface was released by Apple.

Since then, people have discovered new feasible ways of experimenting with design,

leading to a diverse collection of goods and discovering a new meaning behind them

(Mϋller, 2018:210). April Greiman was amongst the first pioneering designers to

have specialised in computer-generated graphics, communicating visually via

“digitally produced layouts” (Mϋller, 2018:262). Greiman’s style had opened up a

“New Wave” in the United States, building up a large majority of ideas and becoming

a mainstream medium (Mϋller, 2018:288).

Fig 1: April Greiman, Jayme Odgers, Magazine Cover, 1979


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During the 80s, computers have given designers the ability to create products, both

visually appealing and emotionally powerful to their consumers – something we

would have never been able to achieve in the past (McQuiston and Kitts, 1987,

quoted in Mϋller, 2018). Today, the rise of digital technology has resulted in a broad

range of tools with easier accessibility and “creative possibilities” (Figg, 2019).

However, some have regarded technology as being a threat to the graphics industry

based on the following consequences, and yet we continue to benefit from its infinite

possibilities…

Amateurs find it easy to produce cheap poor-quality logos and marketing materials

using modern technology. This results in businesses refusing to hire true designers

and doing the work themselves, specifically to “serve the Board’s greed” rather than

design for good. Mighty corporations like Adobe have complete control over the

people they hire and the property they own; they see software/technology as the key

solution to designing for them and “extracting as much money as possible from the

clients” (Figg, 2019).

Even with the computer being more adaptable than the letterpress, graphic design is

a time-consuming process and requires extensive care in order to be appropriated

for both mediums. Designers are deemed ignorant and impatient if they’ve produced

their work poorly, which is shameful for designers, especially those who can create

positive outcomes. The designer is responsible for the quality of their design, not the

computer (Jury, 2004:148). Saunders sees “little wrong or negative” about the digital

impact on the graphics industry; his only concern involves “non-trained/under-trained

individuals pumping out low grade, bad design, just because they can” (2019).


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Some designers rely on computers to design for them instead of improving their own

designs or their creative skills. Screenshots and editing of pre-existing content make

it easier for internet users to thieve someone else’s work. With restricted capacities

and lacking cultural or professional inspiration, designers go out of their way to

duplicate other artists’ works and redecorate them to look like their own. And they

believe they can get away with it as no-one else has noticed since they are not

familiar with the designs themselves (Chu, 2018).

Aside from reducing the quality in design, this gives the contemporary design

industry a bad name. By simply focussing on altering the appearance of “foreign

works” instead of being original, the concept of illustration art is deteriorating and

eventually, it will no longer serve any purpose (Chu, 2018). Without technology,

plagiarism would be harder to accomplish, because it relies on personal human

skills; handwriting and drawing are much harder techniques to copy.

Fig 2: Respire (rip off of Emily the Strange), 2004


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Poor quality design and plagiarism are two of society’s main debates about

technology’s influence on the graphics industry; it has increased the growth of

consumerism and gone against what design was mainly built for. With their minds

hooked on money, designers and illustrators are frequently applying their skills into

producing bland, lazy and easy-to-do products with no purpose, no effort, no interest

and no success, therefore failing to meet the requirements of their intended

audience. To add insult to injury, consumers’ rise in demand further encourages the

rise in merchandise that will continuously go to waste, as people have no interest in

purchasing materials without meaning. (Foldvari, quoted in Fiell and Fiell, 2005:118;

Chu, 2018).

Despite this, hope has risen. Today, we have taken action to focus our professions

into designing something that revolves around culture with deep analysis and has

the full “potential to change society”, not just ‘cool’ imagery for money’s sake

(Barnbrook, quoted in Fiell and Fiell, 2005:70). The skills of a professional are highly

reliable for marketing agencies to acquire as computers cannot be used to duplicate

their creative talents. Awareness of the issues of Illustration design have been raised

thanks to the increasing progression of technology and artistic vision, each of which

have resulted in a more civilised community and new improved marketing products,

both modern and ancient. Science and technology’s developing process has helped

elevate the extent of art applications, giving designers new skills to develop and

explore new ways of working in illustration design with more substance to it (Chu,

2018). And of course, there is always room for non-professional designers who have

been trained to produce high-quality designs for the “bottom end of the market”.

Miniature businesses have managed to gain credit in producing professional low-

cost branding thanks to tutorials in machinery and artificial intelligence provided by


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tailor brands’ advancements in automated design. With digital technology, there are

many opportunities to benefit from in marketing and branding (Smith, 2018). And in

an effort to prevent plagiarism, systems have been developed in individuals’

computers to protect their works from being stolen. Copyright infringement is the

common protection law against plagiarism and can only allow contents to be copied

for certain motives, such as institutions who would require others’ content for

research or product association. Our community has grown more conscious about

the beauty of design. With technology progressing to much higher standards,

designers are developing their creative skills and experimenting with them to

construct groundbreaking designs in order to impress their clients and customers.

We are certain that ‘good design’ will take over, but at the same time we are

struggling with the enormous quantity of ‘bad design’ (Foldvari:118; Gutierrez:142;

Hyland:160, quoted in Fiell and Fiell, 2005).

Back in the past, lithography and the printing press were the most common

techniques in printing before the computer was born, and much harder.

Fig 3: Typecases, 12 & 14 Line Modern Bold Condensed, print 1995


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Craftsmanship relied on hard labour; featuring more workers and their physical skills.

Many of these techniques have gone out of business since modern technology has

evolved. Computers have slowly but surely replaced almost every hand-crafted item

with digital versions including traditional paintbrushes, enabling artists to paint

endlessly on screen. At this point, science and technology continues to thrive as

aspects of it are constantly applied to the field of graphic design (Chu, 2018). The

printing press has been made ineffective by the development of digital technology,

since now that both design and print have become one achievable format. Because

of this, craftsmanship is sure to decline now that outcomes have become more

predictable due to a more efficient production of goods and a more precise

calculation of prices (Jury, 2004:12). With the mass-production of digital design

prints superior to the letterpress, “there is no reason to continue with letterpress

unless it is used to promote only the best possible workmanship, allied to the best

possible design” (Jury, 2004:24).

Technological development and graphic digitalisation have pushed the boundaries of

research to a higher level, leading to a vast diversity of creative concepts and

inspiration. Modern techniques generated by computers have affected all types of

media and provided alternative ways of working that both the public body and

individual professionals can work from (Poon, 2015). The technology we worked with

during and before the early 1900s had none of that; back then designers relied on

paper, pencil and markers as their main methods of designing. During those times,

companies had long conversations determining the outcome of their designs before

they proceeded with painstakingly constructing the type, font and pictures. Crafting

letters required intense focus and constant measurement to ensure they were

accurate and consistent in style before they were printed; any mistakes could have


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been disastrous in the making. Without computers, evaluation was difficult, they

literally had to test print their type onto their designs to experience the outcomes for

what they were. So back then our range of techniques and creative concepts was

limited (Smith, 2018). Thanks to the advancing technological accessories and

growing demand for “production and reproduction”, the process of printing has

transformed from a long hard-working craftsmanship into an infinite extent of ideas

and techniques (Poon, 2015). Right now, we depend on the digital printer for its

efficiency in producing transferable information as well as its participation in

commercialism. Modern printers have made printing faster and less expensive, even

if their outcomes are not as promising. But we are currently looking into improving

the quality of modern printing as our secondary objective. Overall, we are satisfied to

be printing with the current technology we have, as long as we keep practising whilst

catching up with the digital revolution (Jury, 2004:28). Aside from that, craft printing

still remains operational as it did before with old-time designers retaining their

“experience, knowledge of materials and tactile outcomes” (Saunders, 2019). Young

designers who have lived their lives working with the computer have begun using the

letterpress for recreational purposes in visualisation, therefore “new private

letterpress publishers” have risen while digital typesetting and printing remain

dominant in “trade publishing” (Jury, 2004:28). Yes, it is true that digitalisation has

defeated the printing press (and lithography), but with modern technology there are

always new jobs to apply for.

Programs like Adobe Photoshop or Illustrator are applicable for designers willing to

learn photo manipulation, 3D modelling, typography and illustration as well as other

digital techniques based on the old crafting methods. Digital concept artist Morrell

has admiringly relied on Adobe Photoshop for its “speed and ease of use” (2013:11).


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The program’s flexibility has allowed Morrell to experiment extensively with tone and

texture, making his art “grow in ways [he] could never have imagined”. The gift of

bringing imagination to life is through the use of “valuable tools like Photoshop”

(2013:13).

With a diverse range of software, designers have the opportunity to develop

professional careers in modern design. But as with every program that has its

advantages, they will always have a dark side to them.

Adobe Photoshop is sometimes used to alter the appearance of women and men to

improve their appearances and make them look more beautiful (or rather, ‘artificially

beautiful’) in advertising. Specialists in photo manipulation apply certain adjustments

Fig 4: District75, Stefan Morrell, 2008


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to people’s bodies (mostly women) such as tightening their thighs, slimming their

necks, elongating their arms, smoothening their skin and many more artificial

makeups. If you compare two photographs, one on the left shows a real female

model with perfect defining features of a normal person, whereas the one opposite

presents the pure alteration of a superficially elegant woman with over-the-top

aesthetics. This method of editing a person’s body to a flawless degree gives society

a deceptive impression of how everybody should look. (Vaynshtyen, 2014).

According to Vaynshteyn (2014), digital enhancements of both genders are applied

to 100% of the contents in fashion magazines. The consequences of digitally

enhanced photos can destroy people’s self-esteem and result in poor states of

health such as “anxiety, depression, stress and physical issues”. Because people

think what they see in the media is considered “normal”, society has been pushing

itself to a torturous level in the false hope of becoming something “unrealistic”

(Renninger, 2016).

Fig 5: Before and after Photoshop 2, dianaghiba, Deviantart, 2012


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Nobody is perfect and we know that the chances of becoming ‘this beautiful’ is

impossible to achieve. Some people can easily succumb to those kinds of issues if

they are highly sensitive about their looks based on how they see themselves in the

media. As a result, they might become depressed and develop eating disorders; that

is how “incredibly damaging” Photoshop can be when used for specific purposes like

this (Vaynshtyen, 2014). But we mustn’t blame Photoshop entirely for its

manipulative techniques, because it is basically a program that can be used by

anyone. It is a very useful tool that helps people create amazing images if we use it

‘wisely’. It is ‘what’ it’s used for and ‘who’ uses it. By dehumanising models from their

true selves, people who use Photoshop are the ones responsible for the images they

alter to create the “‘perfect’ body”, not Photoshop itself (Renninger, 2016).

Despite this, awareness is being raised through social media, as design companies

are becoming more socially conscious about their audience. Global advertising

continues to present products through powerful and appealing visuals, even without

the need of digitally enhanced models. And as always, we rely on Adobe Photoshop

for its top-quality photo manipulation and continue to create new and innovative

images with a more positive outcome. If any adjustments were required to improve

the photo of a model, it would be minor blemishes.

The computer’s impact on the graphics industry has been mostly positive, for it has

enabled designers to become fully dominant in managing their creative processes

with unlimited standards (Saunders, 2019). Thanks to the computer, graphic design

has become a major success with so many tools to work from, including Adobe and

FontShop (now offering more than 15,000 digital typefaces). Numerous designers

have reached new possibilities of design since the 70s and 80s. Based on all the

advantages we’ve gained, it would be difficult for us to believe that a graphics studio


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would be complete, or even exist without computers (Smith, 2018; Hollis, 2001).

Saunders (2019) admires modern technology for its significant impact and continues

to apply his old skills of “training” to both screen and paper after a 41-year

experience of working in graphics. In terms of approachability and capability, revising

and designing is much easier to manage as “technology is layered in such a way that

all assets are editable if set up correctly”. Having worked in the graphics industry for

21 years, Figgs (2019) has accomplished a more positive “workflow” through a vast

range of procedures with easier accessibility.

Computer technology has infiltrated all other mediums (including phones, tablets and

televisions) providing immediate access to various sources of information (Saunders,

2019). With cameras installed in almost every device, photographs are easier to

capture on mobile phones, resembling the quality of a Polaroid SX-70 (Gordon and

Gordon, 2005:160). The infinite extent of the internet (despite its faults and

misguidance) supplies tons of research for its users to conduct at a more profound

and accelerated level, building up a potential scope for a wider audience and client

foundation. Being one of the computer’s major sources of inspiration, superior

designs are now being published by designers relying on Software. In addition to the

improved quality of graphic design, computers have increased the production of

video games, film and animation. Having been developed over time with more

sophistication, each of those mediums are highly effective in communicating visually

and can be used for retrospective purposes (Saunders, 2019).

Having worked in Art and Design for 5 years as an art student, I specialise in

illustration as my main method of visualising my ideas. Ever since I’ve joined Graphic

Design, digital technology has helped ease my working progress and improve my

chances of designing professionally.


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During my course, I have been using my iPad Pro regularly to create new and

innovative designs as well as conducting a huge body of research. With its universal

span of applications and tactile interaction, the iPad provides almost everything I

need to fulfil my project process.

Adobe Sketch and Graphic are the most reliable apps for constructing my designs;

Adobe Sketch gives me the opportunity to experiment with roughing out ideas, while

Graphic (with similar features to Adobe Illustrator) acts as an art studio for finalising

my designs into full works of art. A diverse range of tools allows me to adjust specific

features and structure my designs the way I want them to. The activity of drawing on

my iPad with a Bluetooth stylus, resembles that of using a traditional art canvas and

paintbrush, which makes this advanced aspect of technology even more beneficial in

graphic design. Access to the Internet allows me to conduct my research from

variable sources of information in a more tangible process. Using an online blog

Fig 6: Steampunk Article – Front Cover, digital, 2017


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helps me note down my research and keep track of my process easily and quickly,

compared to the labour-intensive sketchbook I used in Art and Design. Files can be

saved and backed up within a flash through Cloud, that way I can access them

elsewhere and continue my process from thereon. The ability to exchange programs

has allowed me to handle more than one task at a time, therefore managing my

process more steadily and completing my work earlier.

Based on its portability, versatility and ease of accessibility, I consider my iPad Pro

to be the most reliable tool for designing. Working with the iPad Pro has given me an

enormous scope of ideas and techniques to work with and has helped develop my

illustrative style and imagination.

I also make use of desktop programs such as Adobe Photoshop, Lightroom and

InDesign. Lightroom and Photoshop are very handy in adjusting the qualitative

features within my photographs, as well as creating stunning visuals via photo

manipulation. InDesign is the ideal tool for creating fun and engaging website

Fig 7: Frankenstein book cover Screenshot, Photoshop, 2018


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designs for the internet. And digital photography in general is far better to handle

than photosensitive film.

Based on all its advantages, digital technology has improved my ways of working.

While I benefit from the advances of technology, I still rely on pencil and paper to

draw my ideas out as I did previously. Creativity is my ultimate aim and I am capable

of bringing my imagination to life either way. The only difference is that computers

are easier to work with. Personally, I believe that modern technology is a pathway to

a brighter future that will lead graphic designers into becoming full-time professionals

in the hopes that they would design for good. Although there is still evidence of

plagiarism, inferior design and other wrongdoings, the positives of technology are

greater than the negatives and continue to change the world for the better.


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References • Hollis, R. (2001). Graphic Design: A Concise History, revised and expanded

ed, Thames&HudsonLtd, London, United Kingdom

• Morrel, S. quoted in Denney, A. (2013), ‘The rules of Fantasy Art’, The Sci-fi & Fantasy Art Book, vol 1, pp. 10-13.

• Smith, C. KnowTechie (2018), The impact of technology on graphic design [Online], Available from: https://knowtechie.com/the-impact-of-technology-on-graphic-design/ [Accessed 14 March 2019]

• Chu, Y. (2018), ‘Analysis of the Application of Illustration Art in Graphic Design', Advances in Social Science, Education and Humanities Research, vol 246, pp. 541, Available from: https://www.atlantis-press.com/proceedings/icpel-18/25905491 [Accessed 13 March 2019]

• Poon, S. (2015), ‘Modernisation of Graphic Design: The Possibilities and Challenges of Digitalisation', Journal of Graphic Engineering and Design, vol 6 (1), pp. 05-09, Available from: https://www.researchgate.net/publication/305044156_Modernisation_of_Graphic_Design_The_Possibilities_and_Challenges_of_Digitalisation [Accessed 22 march 2019]

• Gordon, B and Gordon, M. (2005), The Complete Guide to Digital Graphic Design, vol. 2, Thames&HudsonLtd, London, United Kingdom

• Jury, D. (2004) Letterpress: The allure of the handmade, RotoVision SA, Switzerland

• Müller, J. (2018), The History of Graphic Design: 1960-Today, vol. 2, TASCHEN, Hohenzollernring, Köln

• Renninger, T. Oddysey (2016), Photoshop and Body Image [Online], Available from: https://www.theodysseyonline.com/photoshop-body-image [Accessed 24 March 2019]

• Vaynshtyen, G. Hello Giggles (2014), Why Photoshop is More Deadly Than You Thought [Online], Available from: https://hellogiggles.com/lifestyle/photoshop-deadly-thought/ [Accessed 24 March 2019]

• Barnbrook, J. quoted in Fiell, P and Fiell, C. (2005), Graphic Design Now, pp. 70, TASCHEN, Hohenzollernring, Köln


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• Földvári, D. quoted in Fiell, P and Fiell, C. (2005), Graphic Design Now, pp. 118, TASCHEN, Hohenzollernring, Köln

• Gutiérrez, F. quoted in Fiell, P and Fiell, C. (2005), Graphic Design Now, pp. 142, TASCHEN, Hohenzollernring, Köln

• Földvári, D. quoted in Fiell, P and Fiell, C. (2005), Graphic Design Now, pp. 118, TASCHEN, Hohenzollernring, Köln

• Hyland, A. quoted in Fiell, P and Fiell, C. (2005), Graphic Design Now, pp. 160, TASCHEN, Hohenzollernring, Köln

• Fig 1:Müller, J. (2018), The History of Graphic Design: 1960-Today, vol. 2, pp. 203, TASCHEN, Hohenzollernring, Köln

• Fig. 2: https://cultureofdesign.wordpress.com/2012/02/20/plagiarism-of-book-cover-designs/ [Accessed 31/03/2019]

• Fig 3: Kitching, A and Walters, J. (2016), Alan Kitching: A Life in the Letterpress, revised ed, pp. 196-197, Laurence King Publishing, London, United Kingdom

• Fig. 4: https://stefan-morrell.cgsociety.org/cryj/district-75 [Accessed 31/03/2019]

• Fig. 5: http://img07.deviantart.net/fffa/i/2013/064/f/7/before_and_after_photoshop_2_by_dianaghiba-d5lwtav.jpg [Accessed 31/03/2019]

• Fig. 6: Steampunk Article – Front Cover.jpg

• Fig. 7: Screen Shot 2018-04-23 at 23.15.26


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Appendix1

ImpactofTechnologyonGraphicDesignMynameisJonathanJefferyandIamstudyingadegreeinGraphicDesignatWestKentCollege.Iamwritinga3000-wordessayonthepositiveandnegativeinfluencesoftechnologyontheGraphicsIndustry.Iwouldbemostgratefulifyouwouldusethisquestionnairetorecordyourthoughts.

PleasefillinthisWordtemplateandemailyourresponsesbacktomeatjefferyjonathan@rocketmail.com.

Name:AlanFigg

Typeofbusiness:EducatorDesign

YourroleCourse:manager,Designer

NumberofyearsinGraphicsIndustry:21

1. Whichtechnologieshavehadthemostsignificantimpactonthegraphicdesignindustry–positiveandnegative–overthelast40years?

Pleaseassignscorestoyourtopten,wheretenismostsignificantandoneistheleast.

Computers 10 VideoGames 8Telephones/Mobiles 5 Tablets/iPads 6Television 5 PrintingTechnologies 8Internet 8 Computerstorage 7CamerasandPhotography 7 Films/Animation 8Transport 4 CloudComputing 6SoftwareandApplications 9 ArtificialIntelligence 4Others,pleasegivereasonsandascore:

2. Inwhatwayshavethesechangedthegraphicdesignindustry?


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Positive:Workflow,Broadertoolkithasbecomeaccessible,easedaccessissues,openedupcreativepossibilities

Negative:Technology/Softwaredoesn’tmakeforagooddesign,peoplearedesigners,thenotionthatapieceoftechnology/Softwarewillsomehowcreateafantasticvisualistroubling,asortofmonopolyexistswiththeAdobesuite,bigbusinessesreallyonlyexisttoonlytoservetheboardsgreed,theyarenotleadbyneededtools,itisledbyextractingasmuchmoneyaspossiblefromtheclients

3. Howhavethesetechnologiesaffectedyoupersonally?EasieraccesstoabroaderrangeofprocesseshaveopenedmycreativehorizonsupButgooddesign,visualproblemsolvingdoesn’tcomefromacomputer

Thankyouforyourco-operation,Ilookforwardtoreceivingyouranswers.Pleasereturnby3rdMarch2019.

- Jonathan


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Appendix2

ImpactofTechnologyonGraphicDesignMynameisJonathanJefferyandIamstudyingadegreeinGraphicDesignatWestKentCollege.Iamwritinga3000-wordessayonthepositiveandnegativeinfluencesoftechnologyontheGraphicsIndustry.Iwouldbemostgratefulifyouwouldusethisquestionnairetorecordyourthoughts.

PleasefillinthisWordtemplateandemailyourresponsesbacktomeatjefferyjonathan@rocketmail.com.

Name:IanSaunders…………………………………………………………………

Typeofbusiness:Advertising………………………………………………..

Yourrole:SeniorDesigner…………………………………………………………….

NumberofyearsinGraphicsIndustry:41years………………..

1. Whichtechnologieshavehadthemostsignificantimpactonthegraphicdesignindustry–positiveandnegative–overthelast40years?

Pleaseassignscorestoyourtopten,wheretenismostsignificantandoneistheleast.

Computers 10 VideoGames 4Telephones/Mobiles 8 Tablets/iPads 5Television 4 PrintingTechnologies 2Internet 10 Computerstorage 8CamerasandPhotography 7 Films/Animation 6Transport 2 CloudComputing 8SoftwareandApplications 10 ArtificialIntelligence 5Others,pleasegivereasonsandascore:


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2. Inwhatwayshavethesechangedthegraphicdesignindustry?

Positive:

Computershavechangedtheindustrysignificantly,designersarenowabletotakecontroloftheirworkatallstagesofthecreativeprocess,andtocontrol,toanalmostinfinitedegree,whatitistheywanttoconvey.

Mediasuchasphones,tabletand(smart)televisionsetc,providealmostinstantaccesstoaworldofinformationandideasviathedeviceinyourpocket,orinyoursittingroom.

Thevalueoftheinternet,evenwithallitsfaultsandfalseinformation,isincalculable,thespeedanddepthofresearchaloneisagifttoadesigner.

Camera’s,especiallydigital,allowtheGraphicdesignertorealisetheirideasandmanipulatetheresultstoexactlywhattheyrequireforthejobinhand.

Softwareisthekeyingredienttogettingthebestoutofyourworkandideas.TheAdobesuiteofdesignsoftwareallows,withpractice,everydesignertopublishbetterandbetterwork.

Artificialintelligencewillsurelymakeadifferenceto‘offtheshelf’ideasand‘formula’designneeds,buttruecreativitywillstillbeinthehandsoftalentedhumanbeings.

Printingtechnologieshaveimproved,therearedigitalprintingoptionstoconsidernow,althoughthequalityisn’tasgood,it’squickerandcheaper.True‘craft’printingisstillthesameasitwas,there’snothingyoucanaddtothatastheprocessisstillthesame,experience,knowledgeofmaterialsandtactileoutcomesstillliewiththeprinterandthedesignerworkingtogether.

Videogames,filmandanimationhaveaneffect,especiallyregardinglookandfeel,thestyleofimageryoftenseepsintoaGraphicdesigner’sworkandthenbecomespopularinthemainstream.Filmandanimationcanalsousearetrolook,andassociatedfeelingsthatcomewithit,asavisualtool.


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Negative:

Technologyishere,Iseelittlewrongornegativeaboutit,myonlyworryhasalwaysbeennon-trainedorevenunder-trainedindividualspumpingoutlowgrade,baddesign,justbecausetheycan.IntheearlydaysofAppleMacsthishappenedalotinthenameofcostandgettingsomethingcheap,nownotsomuch,thedesignfilterhasbeenappliedoncemore.

3. Howhavethesetechnologiesaffectedyoupersonally?

Havingbeentrainedinthe‘analogue’style,Ivaluethedigitalworldforitspotentialandaccessibility,asadesignerIcancontrolmyworkandoutput,revisionsareeasiertohandlethantheyeverwereasthetechnologyislayeredinasuchawaythatallassetsareeditableifyousetthemupcorrectly.Sayingthat,IstillapplymyoldtrainingtoalltasksandtakethetimetoconsideriftheideaissoundbeforeIproceed,eitheronacomputerorabitofpaper.

AllthebestJonathan.

Ian.

Thankyouforyourco-operation,Ilookforwardtoreceivingyouranswers.Pleasereturnby3rdMarch2019.

- Jonathan

a case study of graphic designers and computers · posed a threat to graphic design or given it an...

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