Indonesian
J
our
nal
of
Electrical
Engineering
and
Computer
Science
V
ol.
40,
No.
1,
October
2025,
pp.
146
∼
155
ISSN:
2502-4752,
DOI:
10.11591/ijeecs.v40.i1.pp146-155
❒
146
A
compr
ehensi
v
e
analysis
of
smartphones
and
tablets
in
graphic
design
and
digital
art
Jirawat
Sookkaew
1
,
Nakhar
et
Chaikaew
1
,
Nakarin
Chaikaew
2
1
Department
of
Computer
Graphic
and
Multimedia,
School
of
Information
and
Communication
T
echnology
,
Uni
v
ersity
of
Phayao,
Phayao,
Thailand
2
Research
Unit
of
Spatial
Inno
v
ation
De
v
elopment,
School
of
Information
and
Communication
T
echnology
,
Uni
v
ersity
of
Phayao,
Phayao,
Thailand
Article
Inf
o
Article
history:
Recei
v
ed
Feb
3,
2025
Re
vised
Jun
16,
2025
Accepted
Jul
1,
2025
K
eyw
ords:
Design
applications
Digital
art
Graphic
application
Graphic
design
Mobile
creati
vity
ABSTRA
CT
This
paper
discusses
ho
w
smartphones
and
tablets
ha
v
e
changed
creati
vity
and
graphic
design.
These
portable
tools
and
easy
apps
ha
v
e
transformed
the
cre-
ati
v
e
process,
allo
wing
artists,
designers,
and
students
to
create
high-quality
w
ork
an
ywhere.
Mobile
design
apps
promote
creati
vi
ty
,
accessibility
,
and
skill
de
v
elopment
across
broad
user
groups,
according
to
the
study
.
Unlik
e
desk-
top
tools,
it
addresses
k
e
y
constraints.
Mobile
apps
sometimes
struggle
with
smaller
screens,
restricted
processing
po
wer
,
and
reduced
capabilities
for
com-
plicated
tasks
lik
e
multi-layer
editing
and
adv
anced
graphics.
These
restrictions
may
inhibit
e
xpe
rt
designers
w
orking
on
comple
x,
precise
designs.
Ev
en
Ne
v
er
-
theless,
mobile
technology
lik
e
lar
ger
screens,
stylus
support,
and
cloud-based
solutions
are
making
mobile
de
vices
more
feasible
for
creati
v
e
w
ork.
The
nd-
ings
emphasise
the
rele
v
ance
of
inte
grating
mobile
technology
into
education
and
professional
w
orko
ws
and
its
complementarity
to
desktop
solutions
for
resource-intensi
v
e
jobs.
In
the
de
v
eloping
digital
landscape,
our
dual-platform
approach
maximizes
creati
vity
and
e
xibility
.
This
is
an
open
access
article
under
the
CC
BY
-SA
license
.
Corresponding
A
uthor:
Jira
w
at
Sookkae
w
Department
of
Computer
Graphic
and
Multimedia,
School
of
Information
and
Communication
T
echnology
Uni
v
ersity
of
Phayao
Phayao,
56000,
Thailand
Email:
jira
w
at.so@up.ac.th
1.
INTR
ODUCTION
In
recent
years,
the
utilizat
ion
of
portabl
e
de
vic
es
l
ik
e
tablets
and
smartphones
for
creati
v
e
endea
v
ors
has
sur
ged
signicantly
[1].
These
g
adgets
ha
v
e
transformed
ho
w
people
produce
and
eng
age
with
content,
of
fering
enhanced
mobility
,
e
xibi
lity
,
and
con
v
enience.
W
ith
the
emer
gence
of
creati
v
e
applications
and
softw
are,
these
de
vices
ha
v
e
e
v
olv
ed
into
po
werful
instruments
for
artists,
designers,
and
other
creati
v
e
profes-
sionals
to
craft
and
share
their
creations
[2].
T
ablets
and
smartphones
ha
v
e
become
essential
tools
for
creati
v
es,
as
the
follo
wing
article
will
dis
cuss.
These
de
vices
and
crea
ti
v
e
e
xpert
apps
and
softw
are
will
be
e
xamined.
W
e
will
also
discuss
the
pros
and
cons
of
using
portable
de
vices
for
creati
v
e
jobs
and
their
impact
on
the
creati
v
e
industry
[3],
[4].
Recent
years
ha
v
e
seen
remarkable
gro
wth
in
mobile
and
tablet
creati
v
e
and
artistic
apps.
As
mobile
de
vices
become
more
widespread,
more
people
are
using
them
for
creati
vity
.
This
section
e
xam-
ines
mobile
and
tablet
creati
v
e
and
artistic
application
trends
and
mark
et
dynamics.
Designers,
painters,
and
other
creati
v
es
lik
e
tablets
and
smartphones.
High-performance
portable
de
vices
and
a
lar
ge
range
of
creati
v
e
J
ournal
homepage:
http://ijeecs.iaescor
e
.com
Evaluation Warning : The document was created with Spire.PDF for Python.
Indonesian
J
Elec
Eng
&
Comp
Sci
ISSN:
2502-4752
❒
147
apps
ha
v
e
made
w
orking
remotely
easier
.
Mobile
media’
s
use
in
modern
art
sho
ws
its
dual
role
as
a
creation
and
consumption
medium.
In
this
digital
age,
mobile
de
vices
are
essential
to
artistic
e
xpression
and
social
interaction
[5].
Thus,
creati
v
e
design
tools
for
these
de
vices
are
in
demand.
Mobile
graphic
creation
boosts
creati
v
i
ty
and
creati
v
e
skills.
Y
ounger
,
tech-sa
vvy
teens
and
students
should
use
simple
apps.
Users
can
impro
v
e
their
design
skills
independently
.
Because
of
this,
design
learning
is
not
curriculum-
or
classroom-specic.
Sharing
digital
products
on
man
y
social
media
sites
supports
self-e
xpression
[6],
[7].
This
article
helps
comprehend
mobile
de
vice
potential
and
limitations
in
graphic
design
and
digit
al
art.
This
guide
helps
designers,
students,
and
app
de
v
elopers
construct
mobile-friendly
softw
are
that
solv
es
e
xisting
problems
and
impro
v
es
creati
v
e
professions’
usability
.
Identifying
essential
concerns
and
answers
helps
impro
v
e
mobile
design
applications,
making
them
more
ef
cient
and
v
ersatile
for
designers.
Application
de
v
elopers
and
design
acionados
w
ork
together
to
create
technology
and
learning
methods
for
artists
and
mobile
de
vice
users.
The
same
menu
as
today
applies
to
this
group
and
the
digital
art
creati
v
e
circle.
2.
LITERA
TURE
REVIEW
Mobile
design
apps
ha
v
e
greatly
impacted
visual
arts
education
creati
vity
.
Researcher
Franz
C
¸
iz
ek
a
nd
Kırıs
¸
o
˘
glu
ar
gue
that
creati
vity
is
link
ed
to
free
e
xpression
and
a
fundamental
comprehension
of
creati
v
e
con-
cepts.
Mobile
design
apps
allo
w
students
to
e
xperiment
and
incorporate
personal
tales
into
their
art,
fostering
greater
artistic
e
xpression
[1],
[8].
Students’
artistic
products
were
scored
using
the
Creati
vity
Le
v
el
Analyt-
ical
Rubric
(CLAR),
sho
wing
that
these
applications
boost
creati
vity
.
Multimedia-assisted
teaching
methods
also
foster
21
st
-century
abilities
lik
e
critical
thinking
and
adaptation
in
eng
aging
learning
en
vironments.
So-
cial
reasoning
is
importa
nt
in
art
education
since
digital
art
projects
are
collaborati
v
e
and
augment
the
creati
v
e
process
through
peer
eng
agement.
Ov
erall,
the
literature
emphasizes
the
v
aried
character
of
creati
vity
in
visual
arts
education,
notably
through
mobile
de
sign
applications
that
increase
creati
vity
and
prepare
students
for
technology-dri
v
en
issues.
V
ie
ws
of
graphic
design
students
re
g
arding
the
use
of
iP
ads
for
brainstorming
and
sk
etching.
This
study
closes
a
g
ap
in
the
literature
on
the
use
of
Apple
iP
ads
for
dra
wing
by
graphic
design
students.
The
study
looks
at
ho
w
early
design
dra
wing
is
aided
by
iP
ads.
Three
k
e
y
themes
emer
ged
from
the
qualitati
v
e
phenomenological
analysis
of
ten
students’
intervie
ws
and
sk
etches:
a
preference
for
con
v
entional
sk
etching
tools,
an
appreciation
of
iP
ads’
portability
and
design
application
a
v
ailability
,
and
an
in
v
estig
ation
of
dif
ferent
approaches
to
idea
de
v
elopment
[9].
The
ndings
illuminate
ho
w
technology
might
impro
v
e
graphic
design
education
and
student
learning.
Graphic
design
students’
perceptions
of
using
Apple
iP
ads
for
sk
etching.
“Sk
etch
and
generate
ideas
create
sk
etches
and
promote
idea
generation”
addresses
a
g
ap
in
the
literature
by
e
xploring
graphic
design
students’
perceptions
of
sk
etching
on
Apple
iP
ads.
The
study
e
xamines
ho
w
iP
ads
aid
early
design
dra
wing.
T
en
students’
intervie
ws
and
sk
etches
were
analyzed
using
qualitati
v
e
phenomenolog-
ical
methods,
re
v
ealing
three
main
themes
:
a
preference
for
traditional
sk
etchi
ng
tools
,
recognition
of
iP
ads’
portability
and
design
application
access,
and
e
xploration
o
f
alternati
v
e
idea
generation
methods.
The
ndings
re
v
eal
ho
w
technology
may
impro
v
e
graphic
design
education
and
student
learning.
Some
researchers
ha
v
e
in
v
estig
ated
the
capacity
of
mobile
de
vices
for
inno
v
ati
v
e
tasks
in
part
icular
domains.
The
adv
ent
of
mobile
g
adgets,
especially
iP
ads,
has
signied
a
transformational
period
in
creati
v
e
pursuits.
These
technologies
ha
v
e
impro
v
ed
the
accessibility
of
creati
v
e
tools
and
re
v
olutionized
the
creati
v
e
process,
fostering
spontaneity
,
adaptability
,
and
cooperation.
Their
portability
allo
ws
creati
v
e
professionals
to
seize
inspiration
and
undertak
e
tasks
an
ytime
and
an
ywhere,
liberating
them
from
the
constraints
of
traditional
desktop
setups.
This
freedom
has
fostered
a
more
spontaneous
and
uid
creati
v
e
process,
allo
wing
for
the
recording
of
ephemeral
ideas
and
the
e
xploration
of
v
arious
concepts
[10].
Additionally
,
mobile
de
vices
are
incredibly
v
ersatile,
supporting
a
wide
range
of
artistic
e
xpressions.
From
apps
for
painting
and
dra
wing
that
mimic
traditional
media
to
tools
for
taking
pict
ures
and
editing
videos
that
enhance
narrati
v
e,
mobile
de
vices
ha
v
e
de
v
eloped
into
potent
platforms
for
artistic
e
xploration.
Mobile
de
vices
ha
v
e
re
v
olutionized
ho
w
designers
and
artists
w
ork.
The
portability
,
v
ersatility
,
im-
mediac
y
,
and
ability
to
allo
w
collaboration
ha
v
e
changed
creati
v
e
e
xpression,
enabling
groundbreaking
w
ork.
The
study
discusses
the
loss
in
primary
school
children’
s
artistic
creati
vity
and
ho
w
standard
ins
truction
f
ails
to
encourage
it.
It
dra
ws
on
research
indicating
that
contemplation
impro
v
es
le
arning
and
e
v
en
impro
v
e
artistic
talents.
The
study
introduces
“PresentAsian,
”
a
tablet
program
that
records
dra
wing,
modies
strok
e
parame-
A
compr
ehensive
analysis
of
smartphones
and
tablets
in
gr
aphic
design
and
digital
art
(Jir
awat
Sookkae
w)
Evaluation Warning : The document was created with Spire.PDF for Python.
148
❒
ISSN:
2502-4752
ters,
and
pro
vides
training.
The
app
with
reection
support
enhanced
brushw
ork
di
v
ersity
and
originality
more
than
direct
instruction.
T
echnology
can
o
v
ercome
traditional
approaches’
dra
wbacks
and
spark
art
enthusi-
asm.
Despite
concerns
about
dwindling
artistic
talents
in
education,
scaf
folding
and
reection
boost
creati
vity
,
according
to
study
.
T
echnology
can
enhance
learning
and
foster
creati
vity
in
children
[10].
“Moti
v
ating
pre-school
children
to
learn
creati
v
e
thinking
in
Jordan
using
iP
ad
applications:
a
mix
ed-
methods
approach”
[11].
This
title
describes
a
Jordanian
preschool
study
that
emplo
ys
iP
ad
apps
to
boost
creati
vity
.
A
mix
ed-methods
study
e
xamined
ho
w
iP
ad
apps
moti
v
ate
Jordanian
pre-schoolers
to
practice
cre-
ati
v
e
thinking.
iP
ads
ha
v
e
mostly
been
used
to
increase
literac
y
and
numerac
y
skills,
with
little
research
on
their
ef
fects
on
cogniti
v
e
de
v
elopment
and
beha
vior
in
early
childhood
education.
F
our
Arabic
and
English
iP
ad
apps
associated
with
Jordan’
s
kinder
g
arten
curri
culum
emphasise
creati
vity
,
uenc
y
,
and
imagination.
In
a
16-week
interv
ention
program
with
51
kinder
g
arteners
(26
in
the
e
xperimental
group
and
25
in
the
control
group),
the
e
xperimental
group
sho
wed
signicant
g
ains
in
creati
v
e
thinking
moti
v
ation.
The
moti
v
ation
to
learn
creati
v
e
thinking
scale
(MLCT
-Scale)
measures
interest,
percei
v
ed
competence,
pressure,
ef
fort,
and
en-
jo
yment.
Observ
ations
sho
wed
that
youngsters
were
v
ery
eng
aged
with
iP
ad
apps,
especially
creati
v
e
ones,
ho
we
v
er
their
eng
agement
patterns
v
aried
by
ability
.
The
study
sho
ws
that
iP
ad
apps
can
moti
v
ate
creati
v
e
thinking
in
pre-schoolers,
lling
a
g
ap
in
Jordan’
s
early
childhood
education
system.
T
ablets
are
creati
v
e
tools
thanks
to
display
and
image
processing
technologies.
This
research
emphasises
their
role
in
boosting
creati
vity
and
f
acilitating
artistic
production.
T
ablets’
portability
and
features
help
creati
v
e
graphic
and
design
w
ork
[12].
T
ouchscreens,
cameras,
and
stylus
pens
that
simulate
brush
strok
es
and
chalk
ef
fects
let
artists
and
designers
create
an
ywhere.
NPR
algorithms
enhance
artistic
renderings
and
natural
medium
simulation,
while
motion
sensors
introduce
interacti
vity
,
such
as
paint
o
w
simulation.
T
ablets
enhance
design
immersion
through
tactile
input
and
instantaneous
processing.
Resource-ef
cient
de
vices
minimize
data
v
olumes,
pre-
serv
e
battery
life,
and
accelerate
rendering.
The
y
augment
user
eng
agement
and
desi
gn
quality
by
inte
grating
creati
v
e
and
informational
design
components
lik
e
as
visual
data
representations,
line
dra
wings,
and
3D
model
processing.
T
ablets
inte
grate
artistic
inno
v
ation
with
technological
ef
cienc
y
in
education,
communication,
and
professional
design,
while
their
screen
size
and
basic
processing
capabilities
restrict
comple
x
rendering
tasks.
The
inte
gration
of
technology
in
fostering
creati
vity
within
education
is
a
critical
eld
of
study
.
An
e
v
aluation
of
cutting-edge
and
eng
aging
technologies
in
creati
v
e
product
design
education
[13].
According
to
studies,
technology
can
boost
creati
vity
,
b
ut
implementing
transformati
v
e
technologies
is
dif
cult.
Expert
teachers
can
inspire,
eng
age,
research,
and
honestl
y
e
v
aluate
crea
ti
vity
using
digital
resources,
b
ut
the
y
struggle
with
comprehensi
v
e
creati
vity
e
v
aluation
and
inno
v
ati
v
e
technology
inte
gration.
Summarizing
and
presenting
k
e
y
ideas
in
T
able
1
impro
v
es
comprehension.
Carefully
produced
sum-
mary
tables
highlight
essential
study
subjects,
details,
and
trends.
Structured
data
mak
es
it
easy
to
compare,
e
xamine,
and
dra
w
conclusions
from
research,
impro
ving
understanding.
Readers
q
ui
ckly
grasp
the
study’
s
pri-
mary
topics
and
linkages
with
tab
ular
data.
This
structured
strate
gy
impro
v
es
readability
and
supports
rele
v
ant
research,
analysis,
and
application.
T
able
1.
Summary
of
k
e
y
topics
from
literature
re
vie
w
Main
topic
Summary
Mobile
design
apps
and
creati
vity
Mobile
design
applications
enhance
creati
vity
for
designers
and
students
through
user
-friendly
tools.
T
echnology
in
visual
arts
education
Digital
technology
,
such
as
design
apps,
impro
v
es
skills
and
creates
an
interacti
v
e
learning
en
vironment
for
art
students.
Impact
of
iP
ads
on
sk
etching
Using
iP
ads
allo
ws
designers
to
sk
etch
con
v
eniently
,
making
it
portable
and
reducing
the
limitations
of
traditional
tools.
Collaboration
in
digital
art
Digital
applications
enable
designers
to
collaborate,
share
ideas,
and
de
v
elop
art
projects
more
easily
.
Role
of
multimedia
in
learning
Multimedia,
such
as
tutorial
videos
and
interacti
v
e
demonstrations,
enhances
the
learning
process
and
impro
v
es
artistic
skills.
3.
TYPES
OF
CREA
TIVE
GRAPHIC
AND
MUL
TIMEDIA
APPLICA
TIONS
A
primary
adv
antage
of
tablets
and
smartphones
for
creati
v
e
endea
v
ours
is
their
capacity
to
produce
di
v
erse
graphic
and
multimedia
content.
V
arious
forms
of
creati
v
e
content
that
can
be
produced
on
these
de
vices
include.
Indonesian
J
Elec
Eng
&
Comp
Sci,
V
ol.
40,
No.
1,
October
2025:
146–155
Evaluation Warning : The document was created with Spire.PDF for Python.
Indonesian
J
Elec
Eng
&
Comp
Sci
ISSN:
2502-4752
❒
149
3.1.
Digital
illustrations
and
paintings
Since
dra
wing
applications
ha
v
e
become
popular
,
tablets
are
used
for
art.
These
programs
are
port
able,
v
ersatile,
accurate,
and
allo
w
undo
and
redo,
numerous
layers,
and
lters
and
ef
fects.
Dra
wing
applications
allo
w
artists
to
share
feedback
and
collaborate
on
projects
[11],
[14].
The
iP
ad
v
ersion
of
Procreate
is
popular
among
artists
and
designers.
The
app’
s
straightforw
ard
UI,
strong
capabilities,
and
wide
can
v
as
support
ha
v
e
made
it
popular
[9].
Procreate’
s
user
-friendly
interf
ace
and
e
xtensi
v
e
capabilities
allo
w
artists
and
des
igners
to
create
professional-le
v
el
digital
illustrations
and
paintings
on
iP
ads,
which
has
contrib
uted
to
its
rise.
Digital
artists
and
designers
lik
e
Procreate’
s
lo
w
price
and
frequent
updates.
Demand
for
digital
art
and
design
in
numerous
industries
has
further
boos
ted
Procreate’
s
mark
et.
One
of
the
most
popular
iP
ad
digital
painting
apps,
Procreate,
of
fers
a
v
ariety
of
brushes,
te
xtures,
and
other
tools.
Greck
e
uses
these
methods
to
mak
e
realistic
portraits
of
celebrities
and
imaginary
characters
in
the
“Procreate
Portraits”
series.
In
conclusion,
digital
painting
on
an
iP
ad
is
a
practical
and
accessible
option
for
artists
to
create
high-
quality
artw
ork.
Apps
lik
e
Procreate
allo
w
artists
to
create
detailed
and
magnicent
w
orks
of
art
on
a
portable
machine.
T
abl
et
dra
wing
is
f
antastic.
T
ablets
are
portable,
adaptable,
and
ha
v
e
man
y
capabilities
to
hel
p
you
w
ork
well
[15].
3.2.
Digital
graphic
design
and
photo
editors
W
ith
Photoshop
Express
Photo
Editor
,
Af
nity
Designer
,
and
Can
v
a,
designers
can
create
professional-
quality
designs
on
tablets
and
smartphones.
T
ablets
and
smartphones
mak
e
digital
graphic
design
and
layout
easier
,
cheaper
,
and
more
accessible
for
pros
and
no
vices.
Mobile
de
vices
are
gro
wing
more
popular
due
to
designer
and
creati
v
e
apps
and
digital
tools.
T
ablets
a
re
portable
and
e
xcellent
for
graphic
design.
Design
pro-
fessionals
can
use
tablets
to
w
ork
when
inspired
at
the
studio,
on-site,
or
touring.
Mobility
helps
designers
sa
v
e
time
and
be
more
creati
v
e
[1],
[16].
Graphic
designers
utilize
them
to
generate
high-quality
designs
f
aster
and
more
ef
ciently
due
to
its
mobility
,
ease
of
use,
v
ariety
,
and
collaborati
v
e
capabiliti
es.
More
in
v
enti
v
e
tablet
applications
for
graphic
design
will
shape
ho
w
designers
w
ork
and
de
v
elop
po
werful
designs
as
technology
adv
ances.
T
ablets
simplify
graphic
design
creation
and
modication
with
their
user
-friendly
interf
ace.
T
abl
et-
optimized
graphics
design
apps
of
fer
intuiti
v
e
touchscreen
controls
that
mimic
traditional
graphic
design
tools.
The
ease
of
use
mak
es
table
ts
accessible
to
more
people,
e
v
en
those
without
technical
skills
[17].
The
utilization
of
iP
ads
and
smartphones
has
transformed
graphic
design,
enabling
designers
to
produce
high-quality
w
ork
remotely
using
applications
such
as
Procreate,
Can
v
a,
and
Photoshop
Mobile.
This
underscores
the
increasing
demand
for
portable
tools,
and
the
future
of
mobile
graphic
design
is
optimistic
[18].
Mobile
de
vices
are
con
v
enient
b
ut
ha
v
e
smaller
screens
than
desktops.
Lar
ger
-screen
de
vices
m
it-
ig
ate
this
issue.
Processing
po
wer
limits
layers
and
design
comple
xity
,
although
adv
ances
are
o
v
ercoming
this.
Despite
these
shortcomings,
mobile
graphic
design
of
fers
portability
,
af
fordability
,
and
creati
v
e
freedom.
Creati
v
es
can
create
professional-quality
w
ork
on
mobile
de
vices
thanks
to
po
werful
apps
and
resources.
3.3.
Animation
video
editing
and
pr
oduction
and
motion
graphics
W
ith
smartphone
and
iP
ad
apps,
artists
can
no
w
create
high-quality
animations
on
the
mo
v
e
i
nstead
of
using
desktop
softw
are.
Adobe
After
Ef
fects
helps
animators
create
intricate
and
dynamic
animations
with
its
features
and
capabilities.
Filmmaking
and
video
production
no
w
use
smartphones
with
capabilities
pre
vi-
ously
reserv
ed
for
professional
cameras
and
editing
softw
are.
Their
mobility
,
af
fordability
,
and
user
-friendly
interf
aces
allo
w
lmmak
ers
and
content
creators
of
all
abilities
to
create
high-quality
videos
on
the
y
.
Smartphones
can
be
used
to
create
high-quality
content
with
creati
vity
and
resourcefulness,
al
lo
wing
lmmak
ers
to
o
v
ercome
smartphone
limitations
and
create
capti
v
ating
videos
[19],
[20].
Smartphones
enable
e
v
eryone
t
o
generate
capti
v
ating
material
and
lm
and
video.
Smartphone
lmmaking
apps
will
impro
v
e,
e
xpanding
this
v
ersatile
platform’
s
creati
v
e
possibilities.
Mo
vies,
TV
,
ads,
and
digital
mark
eting
need
animation
and
motion
graphics.
Man
y
artists
and
designers
cannot
use
animation
and
motion
graphics
without
appropriate
softw
are
and
equipment.
Smartphone
and
iP
ad
apps
mak
e
animation
and
motion
graphics
easy
for
more
people.
One
of
the
best
mobile
video
editing
apps,
LumaFusion
by
LumaT
ouch,
supports
iOS
and
has
profes-
sional
features.
LumaFusion,
originall
y
designed
for
journalis
ts
and
multimedia
artists
on
the
go,
no
w
attracts
Y
ouT
ubers
and
mobil
e
lmmak
ers
with
desktop-lik
e
editing
tools.
The
tool
supports
multi-track
editing
with
up
to
12
tracks
(six
video
and
six
audio)
with
full
color
correction,
speed
changes,
and
smooth
transitions.
K
e
yframe
animation
and
real-time
pre
vie
w
allo
w
e
xact
ef
fect
and
transformation
control
in
comple
x
visual
projects.
HDR,
4
K,
and
240
fps
increase
LumaFusion’
s
high-quality
video
production
apps.
A
compr
ehensive
analysis
of
smartphones
and
tablets
in
gr
aphic
design
and
digital
art
(Jir
awat
Sookkae
w)
Evaluation Warning : The document was created with Spire.PDF for Python.
150
❒
ISSN:
2502-4752
The
poll
also
highlighted
a
mobile
animation
and
motion
graphics
app
boom.
Man
y
apps
feature
basic
to
adv
anced
k
e
yframe
animation
and
camera
controls.
Popular
programs
include
Procreate,
Animation
Desk,
and
RoughAnimator
.
Benets
of
mobile
animation
and
motion
graphics.
The
y
allo
w
mobile
w
ork,
allo
wing
freelancers
and
artists
without
traditional
tools
ne
w
opportunities.
Mobile
de
vices
are
cheaper
than
desktop
apps,
making
them
more
accessible.
3.4.
3D
cr
eati
v
e
and
3D
modeling
T
ablet
and
smartphone
3D
modelling
programs
are
becoming
more
popular
due
to
their
portability
.
Po
werful
processors
and
high-quality
monitors
enable
precise
and
ef
cient
3D
modelling
on
these
de
vices.
Recently
released
iP
ad
and
smartphone
apps
mak
e
3D
modelling
crucial
for
design
and
engineering
profes-
sionals
[21].
Nomad
Sculpt
is
an
iOS/Android
3D
sculpting
softw
are.
It
of
fers
tools
for
dif
ferent
artistic
styles
and
w
orko
ws
to
be
ginners
and
pros
with
a
touch-based
interf
ace.
User
s
may
shape,
smooth,
and
add
small
details
by
manipulating
“v
ox
els,
”
or
3D
pix
els.
The
Nomad
tools
support
modelling,
te
xturing,
painting,
and
rendering.
Users
use
clay
,
mo
v
e,
and
smooth
brushes
to
b
uild
objects
from
simple
forms
lik
e
spheres
or
cubes.
The
app’
s
masking
and
layer
tools
let
users
isolate
model
components,
w
ork
on
numerous
pieces
at
once,
and
adjust
without
af
fecti
ng
others.
The
research
article
“De
v
elopment
and
creation
of
ancient
sandstone
carvings
using
3D
softw
are
t
ools
and
mobile/tablet
de
vices”
[22].
It
stresses
the
importance
and
dif
culty
of
preserv-
ing
these
art
forms.
Digital
carving
copies
emplo
ying
3D
technology
are
proposed
by
the
authors.
The
y
also
highlight
ho
w
this
technology
allo
ws
replicas
to
be
shared
and
used
for
education.
T
ablets
for
art
and
3D
reference
are
gro
wing
more
popular
.
T
ablets
are
more
portable,
af
fordable
,
and
user
-friendly
than
pre
vious
techniques.
T
ablet
apps
for
sk
etching,
painting,
sculpting,
and
3D
modelling
are
a
v
ailable.
These
tools
allo
w
you
to
generate
e
v
erything
from
sk
etches
to
3D
models.
Recently
,
iP
ads
and
smartphones
ha
v
e
become
popular
3D
modelling
and
creati
v
e
tools.
Po
werful
CPUs
and
high-quality
monitors
mak
e
these
de
vices
portable
and
con
v
enient
for
producing
3D
models
with
precision
[23].
Thus,
v
arious
3D
modelling
and
creati
v
e
apps
ha
v
e
been
created
for
these
de
vices.
3D
modelling
and
creati
o
n
apps
on
iP
ads
and
smartphones
ha
v
e
become
a
major
tool
for
3D
artists,
and
with
the
gro
wing
demand
for
portable
and
con
v
enient
design
tools,
we
e
xpect
to
see
continued
gro
wth.
4.
AD
V
ANT
A
GE
OF
GRAPHIC
AND
CREA
TIVE
DESIGN
APPLICA
TION
ON
SMAR
TPHONE
AND
T
ABLET
4.1.
P
ortability
Smartphones
and
iP
ads
are
con
v
enient
for
graphic
artists
who
w
ork
remotely
.
Recent
years
ha
v
e
seen
more
creati
v
e
and
graphic
designers
using
smartphones
and
iP
ads.
P
ortability
,
accessibility
,
and
usability
are
benets
of
using
these
de
vices
for
design.
Smartphones
are
transforming
graphic
design
by
of
fering
portability
,
v
ersatility
,
and
a
v
ariety
of
functions
that
can
enhance
the
creati
v
e
process.
While
the
y
may
not
yet
fully
replace
desktop
computers,
smartphones
are
pro
viding
designers
with
ne
w
a
v
enues
for
e
xpression
and
collaboration.
As
technology
adv
ances,
smartphones
will
become
more
important
in
graphic
design
[24],
[25].
One
benet
of
using
smartphones
and
iP
ads
for
creati
v
e
and
graphic
design
is
their
sophi
sticated
design
apps.
Adobe
Photoshop
and
Illustrator
feature
mobile
apps
that
let
designers
generate
professional-
quality
w
ork
on
the
go
[26].
Man
y
mobile
design
softw
are,
lik
e
Procreate
for
iP
ad,
of
fer
functionality
and
tools
not
present
in
desktop
apps.
In
addition
to
design,
iP
ads
impro
v
e
art
and
design
education
communication
and
teamw
ork.
Since
iP
ads
are
portable,
students
can
readily
share
ideas
and
pro
vide
comments
during
collaborati
v
e
assignments.
Design
cooperation
requires
problem-solving
and
creati
v
e
thinking,
which
this
digital
technology
enables.
In
art
and
design
education,
iP
ads
boost
learning
by
complementing
traditional
and
digital
techniques
[25].
4.2.
T
ouchscr
een
interface
Smartphones
and
iP
ads’
touchscreen
interf
aces
mak
e
dra
wing
and
design
more
natural
and
intuiti
v
e,
resulting
in
more
precise
and
imaginati
v
e
ideas.
Graphic
designers
benet
from
smartphones
and
iP
ads’
touch-
screens.
T
ouch
input
mak
es
dra
wing
and
designing
more
natural
than
mouse
and
k
e
yboard
input.
Since
the
designer
has
more
control
and
can
mak
e
tin
y
tweaks,
this
might
lead
to
more
e
xact
and
imaginati
v
e
designs.
T
ouch
displays
ha
v
e
changed
design
in
recent
years.
The
y
ha
v
e
enabled
more
intuiti
v
e
and
user
-friendly
inter
-
f
aces
and
increased
interacti
vity
and
creati
vity
[27].
Indonesian
J
Elec
Eng
&
Comp
Sci,
V
ol.
40,
No.
1,
October
2025:
146–155
Evaluation Warning : The document was created with Spire.PDF for Python.
Indonesian
J
Elec
Eng
&
Comp
Sci
ISSN:
2502-4752
❒
151
T
ouch
screens
ha
v
e
changed
mouse
and
k
e
yboard
interf
aces
to
touch-based
ones,
which
is
one
of
it
s
biggest
ef
fects.
This
has
led
to
ne
w
touch-based
interf
ace
design
guidelines,
techniques,
and
technologies.
T
ouch
displays
enable
more
immersi
v
e
and
eng
aging
e
xperiences.
Design
has
beneted
from
touch
screens.
The
y
pro
vide
more
intuiti
v
e,
user
-friendly
,
and
entertaining
interf
aces.
Ov
er
time,
touch
screen
technology
will
enable
more
imaginati
v
e
and
no
v
el
uses
[28].
Graphic
designers
and
artists
use
smartphones
and
iP
ads’
touch-
screen
interf
aces
for
more
natural
dra
wing
and
design
input.
T
ouchscreens
impro
v
e
creati
v
e
and
design
w
ork
speed
and
precision.
Adobe
(2019)
found
that
touch
screen
de
vices
ha
v
e
changed
graphic
artists’
w
orko
ws.
The
study
indicated
that
88%
of
creati
v
e
professionals
feel
touch
screen
de
vices
enhance
creati
vity
,
and
86%
of
designers
prefer
them
o
v
er
traditional
input
de
vices.
T
ouch
screens
and
adv
anced
design
apps
allo
w
designers
to
create
professional-le
v
el
w
ork
on
the
y
and
eng
age
with
clients
and
colleagues
in
real
time.
Stylus
pens
with
touch
screens
dra
w
more
accurately
and
naturally
than
mice
or
trackpads.
Pressure
af
fects
stylus
pen
line
thickness
and
opacity
[29].
T
ouchscreen
de
vices’
rob
ust
design
applications
enable
designers
to
produce
professional-quality
w
ork
instantaneously
,
in-
teract
with
clients
and
colleagues,
and
disseminate
their
w
ork
in
r
eal
time.
The
creati
v
e
process
is
f
ar
more
dynamic.
T
ouchscreen
de
vices
ha
v
e
transformed
the
operational
methods
of
graphic
designers
and
creati
v
es,
altering
creati
v
e
culture
and
f
acilitating
more
ef
cient
and
ef
fecti
v
e
w
ork
practices.
4.3.
Connecti
vity
and
w
orking
between
smartphones,
computers,
and
other
electr
onic
de
vices
Graphic
designers
need
connection
and
cross-de
vice
compatibility
in
the
digital
w
orld.
This
a
llo
ws
designers
to
w
ork
remotely
and
interact
in
real
time,
impro
ving
design
e
xibility
and
ef
cienc
y
.
Connecti
v-
ity
and
w
orking
between
cellphones,
laptops
,
and
other
de
vices
has
these
benets.
Connection
and
commu-
nication
between
de
vices
ha
v
e
become
increasingly
vital
in
graphic
and
design
w
ork,
enhancing
ef
cienc
y
,
collaboration,
and
creati
v
e
possibilities
[30].
Connecti
vity
f
acilitates
enhanced
e
xibility
and
ef
cienc
y
in
the
design
process,
permitting
designers
to
operate
from
an
y
location
at
an
y
time
and
to
connect
ef
fortlessly
with
their
colleagues.
Cloud-based
technologies
and
the
enhanced
accessibility
of
mobile
de
vices
ha
v
e
f
acilitated
the
sharing
of
les,
pro
vision
of
feedback,
and
collaborati
v
e
project
w
ork,
irrespecti
v
e
of
location
or
de
vice
type
[31].
4.4.
A
pplication
in
personal
computers,
the
mark
et
has
expanded
into
the
mobile
de
vice
mark
et
As
smartphone
and
tablet
use
rises,
graphic
design
apps
ha
v
e
e
v
olv
ed
to
be
con
v
enient
and
usable
an
ywhere.
These
applications,
which
were
b
uilt
for
desktops
and
laptops,
are
no
w
optimized
for
mobile
de
vices
with
small
screens
and
touch
capabilities.
Design
is
transformed
by
this
transition,
making
these
strong
tools
more
accessible
to
more
people.
Smartphones
and
tablets
are
cheaper
than
desktops
and
laptops
b
ut
can
handle
adv
anced
design
jobs.
T
ablets
with
stylus
capability
(e.g.,
Apple
Pencil)
reduce
the
need
for
price
y
accessories,
making
them
cost-ef
fecti
v
e
for
professionals
[32].
Moreo
v
er
,
mobile
programs
such
as
Procreate
or
Can
v
a
function
on
freemium
or
one-time
purchase
models,
considerably
lo
wering
softw
are
e
xpenses
in
comparison
to
desktop
alternati
v
es
lik
e
Adobe
Creati
v
e
Suite
[33].
Mobile
de
vices
necessitate
reduced
maintenance
and
e
xhibit
lo
wer
ener
gy
consumption
compared
to
con
v
entional
computers,
hence
f
acilitating
long-term
cost
sa
vings
[34].
Their
portability
allo
ws
mobile
w
orko
ws,
decreasing
project
turnaround
times
and
costs.
In
emer
ging
areas
where
high-end
systems
are
too
e
xpensi
v
e,
these
g
adgets
allo
w
people
to
eng
age
in
global
sectors
without
in
v
esting
much
[35].
Smartphone
and
tablet
apps
of
fer
portability
.
Designers
can
w
ork
an
ywhere
[36].
Not
just
at
w
ork
or
home.
T
ouch
and
stylus
functionality
for
rapid
dra
wing
are
common
in
mobile
apps.
T
ouchscreens,
accelerometers,
and
app
stores
ha
v
e
made
mobile
platforms
e
xible
tools,
spanning
PC-based
and
mobile
de
vice
capabilities.
Due
to
mobile
de
vice
gro
wth
in
man
y
elds,
user
beha
viour
and
mark
et
demands
ha
v
e
changed
[37].
It’
s
e
xcellent
for
designers
sk
etching
ideas
on
the
y
or
in
the
eld.
Mobile
app
interf
aces
must
be
optimized
for
smaller
screens.
The
menus
and
tools
are
simple
to
use.
Desktop
functions
include
picture
editing,
sk
etching,
layering,
and
management.
Designed
for
touch.
Using
it
on
mobile
de
vices
is
natural.
This
allo
ws
apps
that
need
po
werful
processors
to
run
ef
fecti
v
ely
.
Graphics
creation
on
mobile
de
vices
is
as
ef
cient
as
on
desktops.
Man
y
smartphones
and
tablets
allo
w
high-resolution
stylus
pens
lik
e
the
Apple
Pencil
or
Samsung
S
Pen
for
precise
dra
wing.
Thes
e
features
impro
v
e
mobile
graphics
apps.
Ev
en
on
mobile
de
vices,
designers
may
mak
e
delicate
creations.
adjustments
from
computer
application
graphic
design
to
mobile
de
vices,
adapting
to
today’
s
user
beha
viour
and
needs
[38].
The
adv
antages
of
graphic
design
and
creati
v
e
apps
on
smartphones
and
tablets
are
sho
wn
in
T
able
2.
A
compr
ehensive
analysis
of
smartphones
and
tablets
in
gr
aphic
design
and
digital
art
(Jir
awat
Sookkae
w)
Evaluation Warning : The document was created with Spire.PDF for Python.
152
❒
ISSN:
2502-4752
T
able
2.
Adv
antages
of
graphic
and
creati
v
e
design
applications
on
smartphones
and
tablets
Adv
antage
Description
K
e
y
insights
Portability
Enables
w
ork
an
ywhere.
Boosts
producti
vity
and
idea
capture.
T
ouchscreen
interf
ace
Supports
intuiti
v
e
touch
and
stylus
input.
Enhances
precision
and
control.
Connecti
vity
Enables
cloud
syncing
and
sharing.
Impro
v
es
w
orko
w
and
collaboration.
Cost-ef
fecti
v
eness
Lo
wer
cost
than
desktop
softw
are.
Increases
accessibility
for
all
users.
Ener
gy
ef
cienc
y
Consumes
less
po
wer
than
desktops.
Extends
battery
life
for
mobile
w
ork.
App
mark
et
gro
wth
Expanding
tools
for
all
skill
le
v
els.
Supports
both
be
ginners
and
professionals.
User
-friendly
interf
ace
Optimized
for
touch
and
small
screens.
Simplies
learning
and
usability
.
5.
DESIGNER
TRENDS
AND
BEHA
VIORS
IN
MOBILE
DEVICE
USA
GE
5.1.
Flexibility
in
w
ork
en
vir
onments
Designers’
rising
use
of
mobile
de
vices
is
a
major
creati
v
e
industry
shift.
These
technologies
pro-
vide
smooth
w
ork
across
v
aried
conte
xts
with
unsurpassed
e
xibility
.
Mobile
de
vices
let
designers
produce
“an
ywhere,
an
ytime”
without
being
chained
to
a
desktop.
This
adaptability
boosts
creati
vity
and
producti
vity
during
tra
v
el,
outdoor
meetings,
and
i
nformal
brainstorming
[39].
Designers’
gro
wing
use
of
mobile
de
vices
is
transforming
the
creati
v
e
profession
by
pro
viding
unmatched
freedom
and
enabling
seamless
w
ork
across
v
ar
-
ied
en
vironments.
Mobile
de
vices
let
designers
w
ork
remotely
,
unlik
e
desktops
[40].
T
ablets
and
cloud-based
apps
pro
vide
f
ast
collaboration
and
project
access,
transforming
design
w
orko
ws.
Graphic
design
will
e
xpand
3%
year
from
2020
to
2030.
Mobile
technology
has
helped
designers
collaborate
and
produce
more
ef
ciently
,
contrib
uting
to
this
de
v
elopment
[41].
Mobile
de
vices
sa
v
e
time
and
enable
current,
ef
fecti
v
e
procedures.
This
shift
highlights
a
cultural
shift
in
the
b
usiness,
emphasizing
the
role
of
portable
tools
in
eliminating
spatial
limitations
and
boosting
creati
v
e
inno
v
ation
where
v
er
inspiration
strik
es
[42],
[43].
Adv
anced
features
in
mobile
and
tablet
design
apps
are
transforming
the
design
industry
.
As
mobile
technology
adv
ances,
designers
will
lik
ely
use
these
pl
atforms
to
complete
dif
cult
design
jobs,
reecting
a
wider
trend
to
w
ards
professional
mobility
and
e
xibility
.
Not
only
does
this
shift
impro
v
e
design
ef
cienc
y
and
accessibility
.
5.2.
Adoption
patter
ns
and
tool
integration
designers
Designers
are
increasingly
using
iP
ads
and
other
mobile
de
vices
with
traditional
design
tools.
Mobile
de
vices
are
no
w
utilized
to
augment
traditional
approaches
in
the
creati
v
e
b
usiness,
reecting
a
wider
transition.
Mobile
de
vices
allo
w
designers
to
iterate
f
ast
and
capture
spontaneous
ideas
while
still
using
pencils
and
sk
etchbooks
for
initial
concept
de
v
elopment
[44].
Research
sho
ws
that
mobile
de
vices,
especially
Procreate
and
Adobe
Illustrator
,
are
becoming
v
aluable
creati
v
e
tools.
T
ouch-based
interf
aces
and
mobility
distinguish
these
dra
wing
tools
from
others.
Hybrid
user
interf
ace
studies
sho
w
that
mobile
de
vices
impro
v
e
ef
cienc
y
and
creati
vity
in
professional
operations
[44],
[45].
Designers
are
no
w
le
v
eraging
mobile
technologies
to
connect
design
s
oftw
are
and
user
e
xperience
tes
ting
for
f
as
ter
feedback
and
collaboration.
This
method
lets
designers
smoothly
sw
ap
between
traditional
and
digital
tools
to
optimize
w
orko
ws.
This
h
ybrid
paradigm
relies
on
mobile
de
vices
for
e
xibility
without
sacricing
ef
cienc
y
or
quality
.
5.3.
P
ersonalization
and
adaptation
in
mobile
lear
ning
f
or
cr
eati
v
e
skills
Y
ounger
designers
and
students
are
self-learning
using
smartphone
apps.
The
y’
re
using
simple
inter
-
f
aces
to
learn
alone,
bypassing
the
classroom.
This
changes
ho
w
ne
w
designers
learn
and
de
v
elop
their
creati
v-
ity
.
Mobile
de
vices
of
fer
personalized
and
adapti
v
e
content,
letting
learners
customize
their
learning
[46],
[47].
Designers
are
adopting
adv
anced
mobile
and
tablet
design
elements,
a
major
change
in
creati
v
e
technology
acceptance.
Adv
anced
technologies
lik
e
v
ector
graphic
support
and
real-time
collaboration
promote
this
trend.
These
characteristics
enable
complicated
design
acti
vities
pre
vi
ously
limited
to
desktop
platforms,
increasing
mobility
and
e
xibility
[48].
Design
principles,
colour
theory
,
and
critical
analysis
are
taught
in
graphic
design,
painting,
and
dra
w-
ing
classes.
Mobile
apps
with
interacti
v
e
colour
matching
and
design
tools
can
impro
v
e
learning
in
this
sector
[49].
T
echnology
in
art
education
helps
pupils
comprehend
colour
matching,
boosting
their
creati
vity
and
de-
sign
quality
.
This
e
v
olution
is
consistent
with
observ
ations
that
mobile
de
vices
are
no
w
essential
to
professional
processes
[28].
As
mobile
technology
adv
ances,
designers
will
rely
more
on
these
platforms
to
w
ork
ef
ciently
and
precisely
,
representing
a
shift
to
w
ards
e
xible
and
adaptable
professional
practices
[17].
Indonesian
J
Elec
Eng
&
Comp
Sci,
V
ol.
40,
No.
1,
October
2025:
146–155
Evaluation Warning : The document was created with Spire.PDF for Python.
Indonesian
J
Elec
Eng
&
Comp
Sci
ISSN:
2502-4752
❒
153
Mobile
and
tablet
design
apps
are
adding
adv
anced
functionality
as
designers
seek
greater
e
xibili
ty
and
producti
vity
.
V
ector
graphic
and
real-time
collaboration
tools
let
designers
complete
complicated
desktop
jobs
[50].
This
change
simplies
teamw
ork
and
lo
wers
barriers
for
students
and
professionals.
As
mobile
technology
adv
ances,
designers
are
using
it
to
boost
creati
vity
,
producti
vity
,
and
adapt
to
modern,
dynamic
w
ork
situations,
emphasizing
mobility
and
inno
v
ation.
6.
CONCLUSION
Smartphones
and
tablets
are
essential
for
graphic
design
and
digital
art
due
to
their
portability
,
user
-
friendliness,
and
hardw
are
po
wer
.
Using
apps,
these
de
vices
let
designers
create
high-quality
w
ork
an
ywhere.
T
ouchscreens
and
styluses
mak
e
dra
wing
natural,
and
cloud-based
tools
enable
teamw
ork.
These
inno
v
ations
ha
v
e
changed
creati
v
e
w
orko
ws,
allo
wing
professionals
to
operate
in
dif
ferent
conte
xts.
Despite
screen
size
and
processing
restrictions,
de
vice
technological
de
v
elopments
lik
e
lar
ger
displays
and
f
aster
proce
ssing
po
wer
are
solving
these
problems.
Mobile
de
vices
are
no
w
essential
to
design
creati
vity
,
accessibility
,
and
inclusion.
Smartphones
and
tablets
will
continue
to
inuence
creati
vity
.
Digital
inno
v
ation
and
traditional
w
ays
are
mer
ging
as
these
g
adgets
are
inte
grated
into
professional
w
orko
ws.
The
y
can
enable
dra
wing,
graphic
design,
animation,
and
3D
modelling,
making
them
v
ersatile
platforms
for
art
ists
and
designers.
Inte
grating
ne
w
technology
lik
e
AI
will
impro
v
e
mobile
de
vice
design.
Multi-platform
design
allo
ws
mobile
de
vices
to
w
ork
seamlessly
with
PCs
and
wearables,
impro
ving
producti
vity
and
collaboration.
These
de
vices
will
pro
vide
opportunities
for
professional
designers
and
gi
v
e
students
and
enthusiasts
access
to
creati
v
e
tools
as
technology
adv
ances.
This
e
v
olution
sho
ws
their
capacity
to
shape
design
by
enabling
e
xibility
,
inno
v
ation,
and
w
orldwide
creati
v
e
e
xpression.
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BIOGRAPHIES
OF
A
UTHORS
Jirawat
Sookkaew
is
Instructor
in
the
eld
of
computer
graphics
and
mul
timedia,
F
aculty
of
Information
and
Communication
T
echnology
,
Uni
v
ers
ity
of
Phayao.
Bachelor’
s
de
gree
in
the
arts,
specializing
in
interacti
v
e
and
g
am
e
design
de
v
elopment.
Master’
s
de
gree
in
industrial
education
design.
Specialises
in
graphic
design,
multimedia,
interacti
v
e
media,
and
digital
art
creation.
He
can
be
contacted
at
email:
jira
w
at.so@up.ac.th.
Nakhar
et
Chaikaew
is
Instructor
in
the
eld
of
computer
graphics
and
multimedia,
F
ac-
ulty
of
Information
and
Communication
T
echnology
,
Uni
v
ersity
of
Phayao.
Bachelor’
s
and
Mas-
ter’
s
de
grees
in
product
design.
Specializing
in
graphi
c
design
and
digital
art,
he
thri
v
e
at
pro-
ducing
visually
striking
designs
that
inte
grate
creati
vity
with
utility
.
He
can
be
contact
ed
at
email:
nakharet.ch@up.ac.th.
Nakarin
Chaikaew
Ph.D.
in
in
remote
sensing
and
geographic
information
systems,
Asian
Institute
of
T
echnology
(AIT).
Assistant
Professor
of
geographic
information
science
at
the
Uni
v
ersity
of
Phayao,
Thailand.
Procienc
y
and
enthusiasm
in
scientic
technology
,
computing,
spatial
analysis,
cartograph
y
,
and
geograph
y
.
He
can
be
contacted
at
email:
nakarin.ch@up.ac.th.
A
compr
ehensive
analysis
of
smartphones
and
tablets
in
gr
aphic
design
and
digital
art
(Jir
awat
Sookkae
w)
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