a case study of graphic designers and computers · posed a threat to graphic design or given it an...
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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?
Jonathan Jeffery 29/03/2019
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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
Jonathan Jeffery 29/03/2019
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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:
Jonathan Jeffery 29/03/2019
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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.
Jonathan Jeffery 29/03/2019
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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
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