代写价格-技术平台上完成的媒体和创意设计工作。论文代写-在当今时代，一切都是技术驱动的。可以看出，在技术平台上完成的媒体和创意设计工作很大程度上依赖于It (Greiman, 1990)。技术已经有了非常强大的影响，这种技术的进步有时使人们忘记了更简单和直观的构思和概念化的方式，这是图形设计的核心过程。在过去，平面设计实践对作品有很大的影响。一个平面设计艺术家花了很多时间在构思和素描的想法，使模型与其他研究人员合作，这将能够得到更好的设计效果和创作。然而，在当今时代，情况并非如此。技术改变了创造的工作量。平面设计变得更容易，在过去更多的时间和努力是由从事平面设计的人。此外，在当今时代，它已经变得更加简单。
“Since the introduction of the earliest computers with military-industrial potentialities, speed and flexibility are two attributes in constructing designs of practical utility. Digitalisation processes have become the modern designer’s key modes of execution. Image manipulation software, computer processing and the invention of the ‘Undo’ button provides for quicker execution with minimal mistakes – a contrast with traditional art mediums” (Poon, 2015, p.8).
Some of the more basic processes that have become a lot easier are how ideas could be looked up on the internet, students or amateur graphic designers could look up design ideas and make use of templates and reproduce what took graphic designers ages to do. However, at another end, there are some research arguments, presented that some of the benefits of the hands-on process in designing were lost (Holtzschue & Noriega, 1997).
Arguments, made in the context of how far technology, have affected design works seem to present how focus and application has changed. There is an inherent focus now on commercialization of graphic designing. A person’s craft and skill that used to be an identification of an excellent graphic design has now changed to being understood as the mark of good software. Software’s and technology have indeed helped strip the process, but this has changed the way that the tools are viewed. Technology as a tool seems to get more focus in current times (Gere, 2008). As an article writer presented the use of photoshop and computers are good, and can be used to create designs, however, they do not make a designer. A designer is more unique and the thought process, patterns and more which a designer creates cannot be presented as a technology empowered template.
“Computers may be a powerful outlet for designers today, but the traditional domains of arts and crafts are preserved as time- and space-bound dialogues with cultures past, present and future. From a stakeholder perspective, it is argued that authentication would depend on the how far specific creative communities would authorise content and context reproduction. The key question: Can the ‘feel’ of artworks be duplicated?” (Poon, 2015, p.8).