Julia Rodyk
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Hey! How do you feel about AI in design? Do you think it’s changing things for better or worse?
How do you feel about AI in design?
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Liderman
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Personally, I’m not worried about AI replacing us as designers. I think creativity and the human touch will always be irreplaceable. Instead of seeing AI as competition, I look at it as a tool that helps us work smarter and focus more on the fun, creative aspects of design. It’s amazing how much time we can save with tools that automate repetitive tasks or generate fresh ideas.
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When I started in the printing business in 1997, design had already transitioned to computers. But I was fortunate enough to work alongside the older generation who still had experience with the pre-computer era. In their day, design was a highly manual and skillful art. I remember them discussing how, when computers were introduced, it felt like the end of the profession. For some, it was, those who didn’t adapt to new technology found themselves left behind.
However, those who embraced it survived, and many worked well into retirement, learning new software and adapting their skills. The transition wasn’t just from manual design to digital design; it was a broader shift, from the manual etching of plates to creating plates using film, which eventually evolved into the direct-to-plate or even direct-to-print drum processes we see today. The disappearance of film-based workflows was a significant milestone, and much like how digital design took over traditional methods, it has led to faster, more efficient production processes.
Along with this digital evolution, the internet played a huge role in reshaping the industry. Photography, once a specialised craft, was revolutionised with digital imaging. I spent time as a Drum Scanner Operator, a role that is now virtually obsolete due to the rise of digital photography. While stock imagery has made its way into the market, first in books and CD formats, and now readily available online, photographers remain highly relevant. If anything, their importance has grown, as clients now seek authenticity in their imagery. The relationship between photographer and client has become an essential part of the creative process.
Similarly, digital printing has brought about significant changes. In the past, small print runs, like a set of 100 invitations, were prohibitively expensive due to high setup costs in traditional methods, litho, flexo, screen printing, and even embroidery. Digital printing eliminated many of these costs, making small-batch printing much more affordable and accessible to a wider range of businesses.
We’ve also seen the rise and fall of software solutions. For a long time, QuarkXPress was a key player, but Adobe’s all-in-one software package, combining InDesign, Illustrator, Photoshop, and more, has dominated the market. InDesign, in particular, became the preferred solution, offering designers a unified platform. Meanwhile, the internet flooded with easy-to-use design tools, like Canva, and other free versions of photo and vector editing software. These democratized design to some extent, allowing anyone with an internet connection to create graphics.
Despite the influx of these ‘dime-a-dozen’ online tools, the industry leaders, Adobe, Corel, Quark (to some extent), and newcomers like Affinity, have managed to stay relevant. The key to their survival lies in their ability to evolve and adapt to the changing needs of the market.
And now, with the rise of AI, it’s clear that it’s not replacing designers; it’s becoming another tool in our arsenal. Much like how computers transformed the industry in the '90s, AI has the potential to streamline workflows, automate repetitive tasks, and unlock new creative possibilities. But just as with every major shift before it, the key is how we as designers adapt to and integrate these new tools. It’s not about whether AI is good or bad, it’s about how we stay relevant, informed, and trained in using it.
AI, like every tool before it, offers new opportunities, but it’s our creativity, experience, and ability to leverage these tools that will determine how successful we are in the future.
However, those who embraced it survived, and many worked well into retirement, learning new software and adapting their skills. The transition wasn’t just from manual design to digital design; it was a broader shift, from the manual etching of plates to creating plates using film, which eventually evolved into the direct-to-plate or even direct-to-print drum processes we see today. The disappearance of film-based workflows was a significant milestone, and much like how digital design took over traditional methods, it has led to faster, more efficient production processes.
Along with this digital evolution, the internet played a huge role in reshaping the industry. Photography, once a specialised craft, was revolutionised with digital imaging. I spent time as a Drum Scanner Operator, a role that is now virtually obsolete due to the rise of digital photography. While stock imagery has made its way into the market, first in books and CD formats, and now readily available online, photographers remain highly relevant. If anything, their importance has grown, as clients now seek authenticity in their imagery. The relationship between photographer and client has become an essential part of the creative process.
Similarly, digital printing has brought about significant changes. In the past, small print runs, like a set of 100 invitations, were prohibitively expensive due to high setup costs in traditional methods, litho, flexo, screen printing, and even embroidery. Digital printing eliminated many of these costs, making small-batch printing much more affordable and accessible to a wider range of businesses.
We’ve also seen the rise and fall of software solutions. For a long time, QuarkXPress was a key player, but Adobe’s all-in-one software package, combining InDesign, Illustrator, Photoshop, and more, has dominated the market. InDesign, in particular, became the preferred solution, offering designers a unified platform. Meanwhile, the internet flooded with easy-to-use design tools, like Canva, and other free versions of photo and vector editing software. These democratized design to some extent, allowing anyone with an internet connection to create graphics.
Despite the influx of these ‘dime-a-dozen’ online tools, the industry leaders, Adobe, Corel, Quark (to some extent), and newcomers like Affinity, have managed to stay relevant. The key to their survival lies in their ability to evolve and adapt to the changing needs of the market.
And now, with the rise of AI, it’s clear that it’s not replacing designers; it’s becoming another tool in our arsenal. Much like how computers transformed the industry in the '90s, AI has the potential to streamline workflows, automate repetitive tasks, and unlock new creative possibilities. But just as with every major shift before it, the key is how we as designers adapt to and integrate these new tools. It’s not about whether AI is good or bad, it’s about how we stay relevant, informed, and trained in using it.
AI, like every tool before it, offers new opportunities, but it’s our creativity, experience, and ability to leverage these tools that will determine how successful we are in the future.
Sigh - I spent time on this.
Liderman is a post I've seen on other forums promoting their website.
Julia Rodyk is the same IP address.
Both members banned - even though they're the same person...
And thread locked.
Thread remains for posterity. Enjoy.
Liderman is a post I've seen on other forums promoting their website.
Julia Rodyk is the same IP address.
Both members banned - even though they're the same person...
And thread locked.
Thread remains for posterity. Enjoy.
Idiots mate!!
Great response as always
Great response as always
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