Dennis Lenard, CEO of Creative Navy: “Graphic design is blurring the lines between reality and symbolism”

Just occasionally, an interview comes along where we advise readers to sit down to read it. To digest rather than consume. This interview with Dennis Lenard, CEO of Creative Navy UX Agency, is one such time.

Perhaps that shouldn’t be surprising when you discover his pedigree. As a specialist in ergonomic design for medtech and industrial appliances, he’s worked with clients such as Phillips, Miele and the UN. Dennis is also a guest lecturer at King’s College London, while his book, UX/UI Design for Medical Devices and Software, is the first and most comprehensive publication of its kind within the niche.

And it’s fair to say he’s seen plenty of change in the sector over 15 years. “In the past, graphic design was all bells and whistles, the aesthetically refined ‘Look here!’ sign,” he told us. “Today, it skillfully manipulates how we experience and interact with companies and products. Design shapes entire user journeys, guiding not only what we see, but also how we feel and whether we might choose to engage with something.”

Perceptions of graphic design have also changed. “People viewed it as an exclusive, snobbish domain that was obsessed with aesthetics and insufficiently concerned with the hard facts,” said Dennis. “Can’t say I miss those times. As a UX aficionado, I don’t move a muscle without doing my research.”

And what of the latest changes, of the influence of AI? Let’s just say that Dennis is yet to be convinced. “In its current state, AI is merely a polluter, an aspiring replicator that can only grasp beauty by cannibalising it,” he said.

Nor should people confuse its low price with good value. “While AI can offer inexpensive options for graphic design, it fundamentally lacks the ability to grasp why people find something beautiful or feel drawn to visually compelling work. Design is more than arranging key elements, it’s about connecting with others. AI may produce quick and cost-effective visuals, but it often misses the nuance, depth and insight that make design truly resonate with people.”

These are the highlights of our discussion, but they are simply fragments. To repeat our point from above, take your time when reading this interview, whether you’re a Graphic Designer, work in UX/UI or you are about to commission a design agency with prices that are just too good to be true.

Related reading: Everything you need to know about Midjourney

When thinking of your creative process, at what point does technology come in? What role does it play in different stages, from concept to final design?

Nowadays, technology is interlaced with our processes, from discovery to handoff, and none of it would be possible without our tools. Even when we’re brainstorming face to face in a conference room, my team and I enjoy projecting the designs on the wall and making live edits in Figma. I used to be a pen-and-paper kind of person, but it’s become so easy and intuitive to make wireframes on my computer that I don’t carry writing instruments anymore. Even when we’re doing user research on location, we make sure to transfer all our notes to Notion so we can work together on our knowledge bank. 

I feel like the only area I don’t use technology in is critical thinking, observation, and rationalisation. Tech can’t supplant real creativity or clever thought processes. It doesn’t think, dream, or follow an ethos. It’s just a tool in our hands. The final result largely depends on who’s wielding it and how not on the tool itself. 

Given that our agency is spread across Europe and many collaborators work remotely, technology is essential for conducting our business. While I appreciate tools like Zoom that help me connect with clients and colleagues, I’m hesitant about the idea of using AI to replace personal interactions. I do have some boundaries in place. Certain aspects of our work are best kept in the realm of the organic. I aim to preserve the human in human-computer interaction design. 

How has technology changed the way you collaborate at work? And in your view, has it improved or worsened navigating creative differences with clients or team members?

For us, the most significant advantage of collaborative technology is its ability to facilitate real-time teamwork across long distances. We love that in today’s interconnected world, we can work simultaneously on the same design project from different corners of the globe. This flexibility has greatly improved our work-life balance. With established communication protocols and defined core working hours, our team’s collaborative efforts are just as effective – if not more so – than when we’re all physically together.

Technology has not only enhanced collaboration and communication, but it has also made it easier to resolve creative differences. Professionals started welcoming and incorporating feedback from non-experts. Users and clients were invited to share relevant insights. Design is now a dynamic arena of ideas, where our decisions about what to keep and what to discard are directly dependent on research and cognitive science.

Ultimately, technology opened up the world of design, inviting a broader range of stakeholders to observe and contribute. Clients and users from around the globe are easy to reach, which makes design processes more intricate, but also clearer and more democratic. This evolution has facilitated greater synergy among all parties involved. The quality of design deliverables is the highest it’s ever been in the past 25 years. 

Related reading: Philip Oliveros Enopia, Global Content Strategist & Multimedia Designer at Transcom: “Remote work has truly transformed the graphic design landscape” 

What trends in graphic design are you most excited about right now, and where do you see the industry heading?

Graphic design has become an institution in its own right. It’s been thrilling to watch as it expanded and surpassed the restrictions of print, turning into a foundational element for digital experiences. Nowadays, graphic design doesn’t just direct our collective gaze but rather orchestrates an onslaught of hyperrealism using animated visuals to bring any digital environment to life. It’s blurring the lines between reality and symbolism. 

No longer confined by format, time or space, design concepts have become dynamic, interactive and immersive. Thanks to advancements in technology and a deep understanding of visual perception, designers can easily create deliverables that seem to take on a life of their own. Graphic design has gradually progressed from still images to videos, animations and now entire virtual worlds, continuously expanding the possibilities of what it can achieve.

In the past, graphic design was all bells and whistles, the aesthetically refined “Look here!” sign. Today, it skillfully manipulates how we experience and interact with companies and products. Design shapes entire user journeys, guiding not only what we see, but also how we feel and whether we might choose to engage with something. With more power and influence to flaunt, graphic design has secured its position in the echelons of user experience, advertising and branding.

In my opinion, graphic design will become more lucrative than ever. I feel that people have finally come to understand the scope of its impact across industries. Today’s designers are well-equipped and connected: they can build better, and faster, with access to an incredibly wide pool of users and collaborators at their fingertips. 

Generative AI art has taken the graphic design space by storm – what are your views on the use of tools like Stable Diffusion, Leonardo, Midjourney and others?

At first glance, the finished product of an AI tool can seem impressive, but its limits quickly become obvious through sustained use. More specific or complex requirements receive very rudimentary and ill-fitted solutions. We simply can’t look at AI tools like they’re some sort of magic that will do all the heavy lifting in our stead. AI is utilitarian, not fairy dust. While experimenting with such tools, I’ve found myself baffled at the fact that they were too limited to rise to the intricacy of a well-written prompt. 

Ultimately, AI outputs tend to dilute the richness of informed aesthetic choices, offering a quick fix rather than a thoughtfully curated solution. In its current state, AI is merely a polluter, an aspiring replicator that can only grasp beauty by cannibalising it. Throughout my 15-year career, I’ve consistently advised clients to prioritise quality over cost-effectiveness, especially when user experience is at stake. Cheap fixes always end up costing double down the line. 

While AI can offer inexpensive options for graphic design, it fundamentally lacks the ability to grasp why people find something beautiful or feel drawn to visually compelling work. Design is more than arranging key elements, it’s about connecting with others. AI may produce quick and cost-effective visuals, but it often misses the nuance, depth, and insight that make design truly resonate with people. 

Related reading: Adobe Express versus Canva

With the rise of AI and automation in design, how do you see the role of a graphic designer evolving in the next few years?

Those who believe AI can replace graphic designers either gravely underestimate its importance or simply don’t care what they’re putting out into the world. The pursuit of the cheapest solution has led to the irresponsible use of AI tools, resulting in a flood of subpar, generic deliverables. As more designers rely on the same readily accessible tools, their work slowly becomes indistinguishably mediocre. Eventually, companies aiming to stand out will recognise the need for genuine creativity and turn back to skilled designers for originality and depth. I’m genuinely concerned about whether they’ll still be able to find any at that point. 

The widespread reliance on AI is also contributing to a concerning trend: the gradual decline of traditional skills among designers. Many new designers lack foundational training in aesthetic principles or hands-on art skills, which are critical for producing truly engaging work. This erosion of core skills reflects a larger issue:  the commodification of design. Cost takes priority over creativity and usability far too often. 

Ultimately, I believe the role of the graphic designer will come full circle. As companies will learn the hard way to value distinctiveness and creative quality again, true artistry in design will become a hot commodity. The best graphic designers understand that they hold a unique position of power and influence. They shape other people’s experiences. The graphic designers I admire build on the shoulders of the greats who came before them, learn continuously to stay inspired, and keep exercising their creative muscles to prevent atrophy. Just as a hammer can never replace the skill and vision of a builder, an AI tool cannot replace a graphic designer.

Over the course of your career, what is one technological shift you’ve witnessed in graphic design that really stuck with you?  

Graphic design used to be an underestimated and misunderstood field. People viewed it as an exclusive, snobbish domain that was obsessed with aesthetics and insufficiently concerned with the hard facts. Can’t say I miss those times. As a UX aficionado, I don’t move a muscle without doing my research. 

Nowadays, the establishment of design has finally flung its doors open. We’re talking to the people we design for. They’re easy to get in touch with, and the knowledge they offer makes design better in every way: it’s more inclusive, more democratic, and more innovative. As we enter this new cultural paradigm, individuals are beginning to construct their own political and moral realities. I’m of a different school of thought, I try to step away from my own UX designs and focus on the users and their needs. 

One of the most striking changes I’ve witnessed in graphic design is the transition from static, print-focused work to dynamic, interactive digital experiences. Designs are no longer confined to a page; they can now move, respond and adapt in real-time based on user interaction. Watching design evolve from a passive element to something people can actively engage with has been truly remarkable. Graphic design has the power to change an existing reality into a preferred reality, and now it’s more persuasive than ever. 

What advice would you give to aspiring graphic designers looking to break into the industry today?

You’re not competing with AI. You’re competing with irresponsible decision-makers who are happy to take up the cheapest alternative as fast as possible, no questions asked. While changing their unethical minds might be out of your reach, look within yourself to find what you can change. 

To become an asset and stay competitive in what might seem like an oversaturated market, you must commit to lifelong learning. Cultivate your curiosity. Read, try new tools, do mock projects and shadow pros. Community and connection are very important in design training. A great forum or boot camp goes a long way. 

Get to know yourself as a professional. For example, I can’t say I dabble much in the aesthetic side of design. I’m a believer in utilitarian design, so I stick to wireframes and UX strategy. I want what I make to be seamless, invisible even so that it feels like an extension of the user’s mind. You might be like my colleagues and seek out the more creative aspects of design. Remember that your work is powerful and even manipulative. Only you can decide what you do with it and whether you use it to make people’s lives better.