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But now with technology I could sit down and do a bunch of character drawings and scan them into a computer, and the computer using my exact style could bring it into life, where it would have been edited by various human beings before.

I look at graphic design as communication, meaning that the work has to have a vibe to connect to the viewer or perceiver. I make a black and white drawing and then add color digitally, bringing in a contemporary pattern to the composition to create a vibrance.

My background was in graphic design, but when I was doing it, it was all hand-drawn stuff, not computers.

And then you start getting into the technical side of it and the aesthetic side and with those areas you can come up with new ways to visualise things, new ways to render and use the computer to make things look different and new and stuff like that.

Whether it's a computer or a pen drawing, design is about drawing shapes and making physical things.

Clearly, if we'd had the kind of computer graphics capability then that we have now, the Star Gate sequence would be much more complex than flat planes of light and color.

I worked for seven years doing computer graphics to pay my way through graduate school - I have no romance with computer work. There's no amount of phony graphics and things making sound effects on the screen that can change that.

We would sift through every inch of what it was that worked, or if it didn't, and wonder what was effective in it, in terms of paint, the subject matter, the size, the drawing.

I always wanted to design for films.