Figma’s cofounder and chief executive, Dylan Field, recently emphasized that although artificial intelligence is becoming increasingly integrated into creative workflows, the company is not attempting to build software that could replicate the artistry, intuition, and problem‑solving skills of a truly world‑class designer. Field, who at just thirty‑three years old has already become a billionaire and a widely recognized leader in the design‑technology sector, appeared on a mid‑week episode of the *Rapid Response* podcast hosted by Bob Safian. During the conversation, he sought to clarify how Figma envisions the role of AI: not as a replacement for human talent, but rather as an accelerant that removes tedious elements of the job and expands opportunities for creativity at every level.
Headquartered in San Francisco, Figma has built a reputation as a transformative technology company that provides intuitive, collaborative tools for crafting websites, mobile applications, and a wide range of digital interfaces. Field explained that the company’s suite of artificial intelligence–powered features is designed to make the design process both more inclusive and more sophisticated. On one hand, these tools are capable of what he described as “lowering the floor,” meaning they reduce barriers to entry and make it possible for individuals with limited technical knowledge or design expertise to participate meaningfully in creating digital products. On the other hand, he argued, they also “raise the ceiling”—that is, they unlock new levels of productivity and enable seasoned professionals to push projects further and faster than ever before.
Field illustrated this dual responsibility by pointing to expectations that people instinctively have of modern AI. When a user types a simple instruction, such as adjusting spacing in a file, there is an unspoken assumption that the software will perform the task with absolute precision. If an AI utility fails at even such a basic level, Field observed, users often extrapolate from that failure and dismiss its broader potential altogether. This heightened standard reveals a paradox in human behavior: we may forgive minor mistakes from colleagues, but when dealing with artificial intelligence we demand flawless execution, sometimes even beyond what is reasonable.
Despite these technological advancements, Field was careful to underscore a key limitation. He made it clear that Figma is not setting out to automate the highest tier of design practice—the sort of nuanced, imaginative problem‑solving that distinguishes world‑class professionals. Artistic vision, cultural awareness, and the ability to synthesize abstract concepts into compelling visual form remain the unique domain of human designers. AI, in his view, can travel only part of the journey; the leadership and direction must still come from people whose expertise transcends algorithmic output.
What is achievable, however, is the elimination of what Field termed “drudgery”—those repetitive, monotonous tasks that often consume disproportionate amounts of time in a creative project. By delegating this work to AI, designers are freed to focus on higher‑value contributions. For example, instead of spending hours manually adjusting layouts or ensuring pixel‑perfect alignment, professionals can devote their energy to conceptual exploration, storytelling, and the pursuit of original ideas. Simultaneously, newcomers who may not fully grasp the technical intricacies of design can leverage Figma’s tools to express their ideas without being overwhelmed by the mechanics.
The company’s momentum has extended beyond product development into the financial world. Figma’s initial public offering in July was widely described as a blockbuster, with shares debuting at roughly three times their proposed asking price and raising approximately $1.2 billion in fresh capital. The celebratory atmosphere was evident as the organization marked the milestone directly in front of the New York Stock Exchange, hosting a spirited block party that featured free pizza, branded merchandise, and live music provided by a DJ—a symbolic blending of corporate triumph and community festivity.
Figma is not alone in articulating this vision of AI as a partner rather than a competitor to human creatives. Earlier in the year, Cliff Obrecht, cofounder of the design platform Canva, conveyed nearly identical sentiments in an episode of the *Masters of Scale* podcast. Obrecht argued that automation liberates designers from routine work so they can concentrate on “high‑value” activities, and he cautioned that refusing to adopt artificial intelligence in creative fields would ultimately be a strategic misstep, bordering on folly.
When contacted for additional perspective, representatives of Figma declined to provide an official comment to *Business Insider*. Nevertheless, the stance put forth by Field paints a clear picture: the future of design will not be characterized by machines supplanting human artistry, but by technology dissolving the barriers that hinder creativity, granting both experts and novices alike more room to imagine and innovate.
Sourse: https://www.businessinsider.com/figma-ceo-dylan-field-software-wont-replace-designers-2025-10
