TS: How do you see
your more overtly graphic work, such as the NO poster or book cover designs, as
opposed to your pictorial watercolours and lithographs – are they entirely
different things or do you see them as two points on a spectrum?
DG: I do think of it
as a relatively unbroken spectrum - the thing that is really different from one
to the other is its purpose and who it's aimed at, but the actual kind of
interests and techniques, they merge rather than being out-of-touch opposites.
TS: On a similar
theme, most graphic design students are taught very differently to illustrators
today, and they're not, on the whole, taught to draw. Do you think that's a
shame – is drawing an important part of a design education?
DG: I honestly don't
know, I'd like to think it was, though I'm sure that a lot of designers can flourish
without needing to know much about drawing, whereas I imagine you couldn't survive
nowadays without computer skills. But, in relation to one's life experience, I
think it is a pity not to have had the chance to draw and not to have reasons
to persuade one to go on drawing, because I think it's a useful skill; useful
in helping one to think. Drawing enables one to see and to work out why things
are as they look. Drawing is key to my interests, but that's not to say it is