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> Don't recognize that title offhand, but wasn't he the one who invented
> the French Curve (hopefully that remark doesn't date me even further...
> ;-))?

I abandoned my drafting machine about 1975. Personally I loved engineering
drafting manually (not necessarily the part where one loaded a drop of ink
between two points to draw a line.  That definitely needed an "undo."  The
rapidiograph, although a bear to clean, was light years ahead. The manual
approach later as an art director and creative director was tops.  Nothing
better than doing "squeaks" (the sound made when drawing with magic
markers). In a smallish room with the door and window closed, one could get
a nice buzz on before noon using solvent based markers.

In managerial positions in corporate America where the size of the cubical
(DWA AKA designated work area) was based on rank, it was quite possible to
get a vice-president-size area to make room for the big drawing board and
light table.  "Dual-function DWA."

But those days of artographs, air brushes, colored pencils, frisket,
darkrooms and fun are behind most of us in the graphic arts.  Enter the
computer. Instead of needing a window for ventilation, we need no ambient
light and color-corrected fluorescent tubes.  If it were not for the 30 to
40 lineal feet of documentation (Illustrator and Freehand, PageMaker,
QuarkExpress and InDesign), books augmenting the poor documentation, and
animal books; all we would need is an old broom closet and a UPS.

On the other hand, word-processing programs I like.  Not as much as having a
dictating machine and secretary, or a word-processing center, but it sure
beats the typewriter.

Bill B.




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