Will AI replace Artists?

Not as a job, but it is already doing parts of the work. Across the 149 official task statements scored for Artists (United Kingdom, SOC 3411), 21% of the importance-weighted core work is made of tasks today's AI could already do most of. The overall exposure score is 37 out of 100 (range 32–43, band: low). That is a statement about tasks, not about headcount: this measures what AI could do, not whether any employer adopts it, whether the law allows it, or whether doing the routine parts faster creates more demand for the human parts. Figures are from release 2026-q4.1.

Which tasks in “Artists” can AI already do?

The highest-scoring tasks in release 2026-q4.1 are: “Adapt existing artwork to alternative layouts and formats” (93/100, very high); “Create web assets to size and scale” (93/100, very high); “Update and manage a digital portfolio, including website content, to showcase professional work” (93/100, very high). Each score comes from five published 0–4 ratings turned into a number by a published formula, and each carries the model's one-sentence reason on the page.

Which tasks in “Artists” stay human?

About 54% of this job's task weight sits in work that scores low for AI exposure. The lowest-scoring tasks in release 2026-q4.1 are: “Transfer the chosen design onto the customer's skin, using freehand drawing or transfer techniques” (0/100, minimal); “Follow strict hygiene procedures to ensure client safety and cleanliness” (0/100, minimal); “Follow the design lines with an electrically-operated needle to inject ink under the skin” (0/100, minimal). Low scores usually mean the task needs a body in a room, a legally accountable human, or trust built in real time. Those are the three things the scoring rubric treats as gates rather than obstacles.

What should someone working in “Artists” do about AI?

Start from the ledger rather than the headline: 21% of this job's weighted core work is exposed, and roughly 54% is not. The practical move is to spend more of your week on the tasks that score low, the ones above, and to get fluent at directing AI through the tasks that score high, because those are the parts that change whether or not you are ready for them. This page does not predict your job, and nothing here is career advice tailored to you: the score describes the occupation, not the person.

How is the AI exposure score for Artists calculated?

Each official task statement for the occupation is rated on five published 0–4 dimensions (output replicability, physical embodiment, licensed accountability, real-time human trust, and data availability) by claude-opus-5 using scoring prompt task_scoring_v1.0. The model never writes the score; a published formula turns the five ratings into a 0–100 number, so every score can be recomputed by hand. The occupation figure is the importance-weighted mean across 149 scored tasks. The prompt, the rubric, the formula and the full dataset are published at https://futureproof.collab365.com/method and https://futureproof.collab365.com/data/2026-q4.1 under CC BY 4.0.

UK dataswitch to US

Artists

following the design lines with an electrically-operated needle to inject ink under the skin, applying directing and cinematography principles to animation story development and developing animations based on client concepts. If that's your week, this page is about your job.

The honest answer

AI is already taking a real slice of the routine work here: creating finished artwork to elucidate or substitute for spoken or written messages. That is a slice of tasks, not of you.

Your move: what you can actually do about this ↓

Where the work sits, by task weight

shifting to AI: 21%
changing shape: 25%
staying human: 54%

These bars are tasks changing hands, not people being counted out. The ledger below shows which.

Whole-job exposure score 37 out of 100 (32–43 allowing for uncertainty): low exposure, across 149 scored tasks. The number is the support for the sentence above it, not a headline about anyone’s future.

How we know this

What is measured: Every published task statement for artists is rated on five dimensions: can a model produce the output, does the work need a body in a room, does it need a legally accountable person, does it depend on a person being trusted in the moment, and how much data exists. A published formula turns those five ratings into the score; the model never writes the number.

How the bar is built: Each task’s share of the bar is its published importance weight, so a task you do all day counts for more than one you do twice a year.

Release: 2026-q4.1, scores computed 2026-08-04. Read the full method.

That slice is not coming back; the core of the job, creating artwork using pens and ink, stays yours. The tools change, the responsibility doesn't.

Your week, as this page understands it

Artists create artistic works using appropriate techniques, materials and media; design artwork and illustrations; and restore damaged pieces of art. The job title says “artists”. The real job is the part underneath: creating artwork using pens and ink. That is the thing someone has to be right about.

The exposed part of this job is specific, and we won’t pretend it is coming back. But artists is not one task. It is 149 scored ones, and they are nowhere near equally exposed. The most durable of them, on this evidence, is creating artwork using pens and ink, and the ledger below shows exactly why.

Where the work sits, by task weight

shifting to AI: 21%
changing shape: 25%
staying human: 54%

These bars are tasks changing hands, not people being counted out. The ledger below shows which.

How we know this

How the bar is built: Each task’s share of the bar is its published importance weight, so a task you do all day counts for more than one you do twice a year.

Release: 2026-q4.1, scores computed 2026-08-04. Read the full method.

Your job, task by task

These are the official task statements for this occupation, in plain English, sorted by what the evidence says is happening to each one. The official wording sits under every line so you can check the rewrite against it.

43 of this occupation's scored task statements carry a score that was measured under a different occupation's context, because the statement is shared between jobs and has only been scored once so far. Each one names the occupation it was measured under in the free routes below; none is presented as a measurement for this job.
Task clusters are not derived in this release, so the task-cluster field is empty and no Collab365 Space routing is attached to this occupation yet.

Shifting to AI

37 tasks

Tasks today’s tools can already do most of. This is the part we will not soften: where these rows are the bulk of your week, the week changes.

Creating sketches of cartoon characters from memory
This is reading one thing and writing another: sketches of cartoon characters in, a record out. That is the shape today's tools are built for.
importance 70 · 3411/02, 3411/03, 3411/04, 3411/08
Source: “Create sketches of cartoon characters from memory, live models, or reference materials.” (UK task statement)
How this row was scored
Exposure score: 62 out of 100 (58–66 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Character sketching is one of the things image tools do most convincingly from a description.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Creating finished artwork to elucidate or substitute for spoken or written messages
This is reading one thing and writing another: finished artwork in, a record out. That is the shape today's tools are built for.
importance 70 · 3411/04, 3411/07, 3411/08
Source: “Create finished artwork to elucidate or substitute for spoken or written messages.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Turning a message into an explanatory image is well within what current image and diagram tools produce.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Creating graphics and illustrations for use in research or teaching
This is reading one thing and writing another: graphics in, a record out. That is the shape today's tools are built for.
importance 60 · 3411/04, 3411/05
Source: “Create graphics and illustrations for use in research or teaching.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Explanatory graphics for teaching and research are well covered by current diagram and image tools.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Drawing in 2D to create sketches
This is reading one thing and writing another: 2D in, a record out. That is the shape today's tools are built for.
importance 70 · 3411/01, 3411/03
Source: “Draw in 2D to create sketches, artwork, or illustrations.” (UK task statement)
How this row was scored
Exposure score: 62 out of 100 (58–66 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Image tools now produce sketches and illustrations that are usable for many briefs with light editing.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.

Changing shape

38 tasks

Tasks where the machine takes the producing and a person keeps the checking, the deciding, or the answering-for-it. For most jobs this is the biggest group, and it is where "transformation, not termination" is literally visible.

Applying artistic skills to create visuals and plans
The software now makes the first pass at artistic skills, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3411/02, 3411/03, 3411/04, 3411/05, 3411/07, 3411/08
Source: “Apply artistic skills to create visuals and plans.” (UK task statement)
How this row was scored
Exposure score: 56 out of 100 (49–63 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Producing visuals and plans to a brief is largely screen work that image tools do well.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Maintaining portfolios of artistic work to demonstrate styles
The software now makes the first pass at portfolios of artistic work, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/03, 3411/04, 3411/05, 3411/07, 3411/08
Source: “Maintain portfolios of artistic work to demonstrate styles, interests, and abilities.” (UK task statement)
How this row was scored
Exposure score: 43 out of 100 (36–50 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Portfolio pages can be assembled automatically, but choosing work that represents a photographer is personal judgement.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Designing products based on drawings
The software now makes the first pass at products, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 50 · 3411/04, 3411/05, 3411/07, 3411/08
Source: “Design products based on drawings, sketches, and models.” (UK task statement)
How this row was scored
Exposure score: 43 out of 100 (36–50 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Design tools take you a long way, but turning sketches into a workable product needs real design judgement.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.

Staying human

74 tasks

Tasks that stay with a person, because they happen in the physical world, because the rules need someone accountable, or because the value is that a specific person does them.

Creating artwork using pens and ink
This work happens in the physical world: artwork, in a real place. Software cannot follow it there.
importance 80 · 3411/02, 3411/03, 3411/04, 3411/05, 3411/08
Source: “Create artwork using pens and ink.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Working with pen and ink on paper is physical craft.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Creating artworks based on personal ideas or commissions from individuals or organisations
This work happens in the physical world: artworks, in a real place. Software cannot follow it there.
importance 70 · 3411/03, 3411/04, 3411/05, 3411/07, 3411/08
Source: “Create artworks based on personal ideas or commissions from individuals or organisations.” (UK task statement)
How this row was scored
Exposure score: 24 out of 100 (17–31 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Commissioned artwork often means physical materials, and personal ideas are the artist’s own.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Shading sketch outlines and backgrounds using media like watercolours and markers
This work happens in the physical world: sketch outlines, in a real place. Software cannot follow it there.
importance 70 · 3411/02, 3411/03, 3411/04, 3411/05, 3411/08
Source: “Shade sketch outlines and backgrounds using media like watercolours and markers.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Shading with watercolour and markers is hands-on work on the page.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.

Show the other 139 tasks

Adapting existing artwork to alternative layouts and formats
shifting to AI
This is reading one thing and writing another: artwork in, a record out. That is the shape today's tools are built for.
importance 70 · 3411/02
Source: “Adapt existing artwork to alternative layouts and formats.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Resizing and reflowing existing artwork for different formats is largely automatic in design software.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Creating web assets to size and scale
shifting to AI
This is reading one thing and writing another: web assets in, a record out. That is the shape today's tools are built for.
importance 60 · 3411/02
Source: “Create web assets to size and scale.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Producing web assets at set sizes and scales is largely automated export work.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Updating and managing a digital portfolio
shifting to AI
This is reading one thing and writing another: a digital portfolio in, a record out. That is the shape today's tools are built for.
importance 60 · 3411/02
Source: “Update and manage a digital portfolio, including website content, to showcase professional work.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Keeping a portfolio site current is routine content management that tools handle automatically.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Calculating expenditure as part of financial planning
shifting to AI
This is reading one thing and writing another: expenditure in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/02
Source: “Calculate expenditure as part of financial planning.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Adding up expected costs is straightforward calculation work.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Editing and adjusting images to ensure good picture quality
shifting to AI
This is reading one thing and writing another: images in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/02
Source: “Edit and adjust images to ensure good picture quality.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Correcting exposure, colour and sharpness is already done automatically to a high standard.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Managing accurate artwork files
shifting to AI
This is reading one thing and writing another: accurate artwork files in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/02
Source: “Manage accurate artwork files.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Naming, versioning and storing artwork files is routine file management software does reliably.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Merging scanned images using image processing software
shifting to AI
This is reading one thing and writing another: scanned images in, a record out. That is the shape today's tools are built for.
importance 60 · 3411/03
Source: “Merge scanned images using image processing software.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Merging and aligning scanned images is a standard automated function in image software.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Advertising services using internet advertising and brochures
shifting to AI
This is reading one thing and writing another: services in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/04
Source: “Advertise services using internet advertising and brochures.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Producing online adverts and brochure copy is routine promotional writing and layout.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Using computer-aided design, CAD) software to scan images and modify size, colours and other elements
shifting to AI
This is reading one thing and writing another: computer-aided design, cad) software in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/04
Source: “Use computer-aided design (CAD) software to scan images and modify size, colours, and other elements.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Scanning and adjusting size and colour in design software is a routine automated operation.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Using desktop publishing software to edit and formulate information
shifting to AI
This is reading one thing and writing another: desktop publishing software in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/04, 3411/05
Source: “Use desktop publishing software to edit and formulate information.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Laying out and editing information in publishing software is routine document production.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Designing visual aids to support educational and research presentations
shifting to AI
This is reading one thing and writing another: visual aids in, a record out. That is the shape today's tools are built for.
importance 70 · 3411/05
Source: “Design visual aids to support educational and research presentations.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Producing visual aids from supplied content is routine design work that tools do well.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Using computers and software like Adobe Photoshop
shifting to AI
This is reading one thing and writing another: computers in, a record out. That is the shape today's tools are built for.
importance 60 · 3411/05
Source: “Use computers and software like Adobe Photoshop to download, edit, and process digital images or films.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Downloading, editing and processing digital images is routine and largely automated in the software itself.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Producing hospital trust's newspaper or annual report using desktop publishing packages
shifting to AI
This is reading one thing and writing another: hospital trust's newspaper in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/05
Source: “Produce hospital trust's newspaper or annual report using desktop publishing packages.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Producing a newsletter or annual report in publishing software is routine writing and layout.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Writing materials and articles for the museum or gallery website
shifting to AI
This is reading one thing and writing another: materials in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/06
Source: “Write materials and articles for the museum or gallery website.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (86–100 allowing for uncertainty): very high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Web articles about collections are exactly the kind of writing AI tools produce to a publishable standard.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Utilising libraries and the internet for artistic research
shifting to AI
This is reading one thing and writing another: libraries in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/02
Source: “Utilise libraries and the internet for artistic research.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Looking things up in libraries and online is search work that tools do quickly and broadly.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Designing models and backgrounds for animation projects
shifting to AI
This is reading one thing and writing another: models in, a record out. That is the shape today's tools are built for.
importance 70 · 3411/03
Source: “Design models and backgrounds for animation projects.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Backgrounds and model designs are among the strongest outputs of current image tools.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Manipulating static images to give the illusion of motion
shifting to AI
This is reading one thing and writing another: static images in, a record out. That is the shape today's tools are built for.
importance 70 · 3411/03
Source: “Manipulate static images to give the illusion of motion.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Turning a still picture into convincing movement is now a standard, widely available software feature.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Creating final illustrations using computer design packages
shifting to AI
This is reading one thing and writing another: final illustrations in, a record out. That is the shape today's tools are built for.
importance 70 · 3411/04
Source: “Create final illustrations using computer design packages.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Finished digital illustration is now produced to a usable standard by image tools for many briefs.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Monitoring events, trends and other circumstances to keep current on art world activities
shifting to AI
This is reading one thing and writing another: events, trends and other circumstances in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/07, 3411/08
Source: “Monitor events, trends, and other circumstances to keep current on art world activities.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Keeping up with art world news and trends is reading widely published sources.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Managing financial activities as a self-employed individual
shifting to AI
This is reading one thing and writing another: financial activities in, a record out. That is the shape today's tools are built for.
importance 60 · 3411/02, 3411/04
Source: “Manage financial activities as a self-employed individual.” (UK task statement)
How this row was scored
Exposure score: 81 out of 100 (77–85 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Self-employed bookkeeping and tax admin is routine record work that accounting software handles.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 1/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Marketing and publicising projects via social media and the press
shifting to AI
This is reading one thing and writing another: projects via social media in, a record out. That is the shape today's tools are built for.
importance 70 · 3411/02
Source: “Market and publicise projects via social media and the press.” (UK task statement)
How this row was scored
Exposure score: 79 out of 100 (75–83 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Social media and press promotion is routine writing and scheduling that tools already handle.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Operating presentation software for creating and delivering presentations
shifting to AI
This is reading one thing and writing another: presentation software in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/05
Source: “Operate presentation software for creating and delivering presentations.” (UK task statement)
How this row was scored
Exposure score: 79 out of 100 (75–83 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Building slide decks is one of the tasks presentation software now does almost entirely on its own.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Preparing budgets for financial planning
shifting to AI
This is reading one thing and writing another: budgets in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/02
Source: “Prepare budgets for financial planning.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Budget preparation from known figures is routine numerical work.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Researching and incorporating the latest design trends into projects
shifting to AI
This is reading one thing and writing another: the latest design trends in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/02
Source: “Research and incorporate the latest design trends into projects.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (68–82 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Design trends are widely published, so gathering and applying them is straightforward research.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Using models to simulate the behaviour of animated objects in the finished sequence
shifting to AI
This is reading one thing and writing another: models in, a record out. That is the shape today's tools are built for.
importance 70 · 3411/03
Source: “Use models to simulate the behaviour of animated objects in the finished sequence.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (68–82 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Simulating how objects move and collide is a standard software calculation, set up once and then run automatically.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Analysing a brief's specification and the text
shifting to AI
This is reading one thing and writing another: a brief's specification in, a record out. That is the shape today's tools are built for.
importance 70 · 3411/04
Source: “Analyse a brief's specification and the text to be illustrated, as well as research sources.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Reading a brief and the text, then finding reference sources, is desk research software does well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Researching and organising projects to meet tight deadlines
shifting to AI
This is reading one thing and writing another: projects in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/04
Source: “Research and organise projects to meet tight deadlines.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Researching and organising work to hit deadlines is planning and desk research software supports well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Planning research on restoring and preserving specimens
shifting to AI
This is reading one thing and writing another: research in, a record out. That is the shape today's tools are built for.
importance 85 · 3411/06
Source: “Plan research on restoring and preserving specimens.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Planning a conservation research programme uses well-documented methods and published literature.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Providing roughs for approval
shifting to AI
This is reading one thing and writing another: roughs in, a record out. That is the shape today's tools are built for.
importance 60 · 3411/04
Source: “Provide roughs for approval.” (UK task statement)
How this row was scored
Exposure score: 70 out of 100 (66–74 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Rough concepts for approval are exactly what image tools produce quickly and in quantity.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 4/4.
Ensuring production deadlines are met by monitoring progress
shifting to AI
This is reading one thing and writing another: production deadlines are met in, a record out. That is the shape today's tools are built for.
importance 60 · 3411/03
Source: “Ensure production deadlines are met by monitoring progress.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (57–71 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Tracking progress against deadlines is what project software does, with a nudge from a person when something slips.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Managing business operations when working as a freelance designer
shifting to AI
This is reading one thing and writing another: business operations in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/04
Source: “Manage business operations when working as a freelance designer.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (60–68 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Running the admin side of freelancing is invoicing, records and scheduling, which software handles well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Marketing artwork to attract clients
shifting to AI
This is reading one thing and writing another: artwork in, a record out. That is the shape today's tools are built for.
importance 50 · 3411/04
Source: “Market artwork to attract clients.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (60–68 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Marketing your work is largely writing and posting, which drafting tools now do to a good standard.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Sketching initial design ideas
shifting to AI
This is reading one thing and writing another: initial design ideas in, a record out. That is the shape today's tools are built for.
importance 60 · 3411/02
Source: “Sketch initial design ideas.” (UK task statement)
How this row was scored
Exposure score: 62 out of 100 (58–66 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Initial idea sketches are quick to generate in quantity, which is exactly what this stage needs.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Generating creative ideas and themes for visual art projects
changing shape
The software now makes the first pass at creative ideas, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 70 · 3411/02, 3411/04
Source: “Generate creative ideas and themes for visual art projects.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Idea generation produces plenty of starting points, but a distinctive artistic theme still comes from the artist.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Applying for residencies and competitions
changing shape
The software now makes the first pass at residencies, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/02
Source: “Apply for residencies and competitions.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Applications can be drafted quickly, but tailoring them convincingly to each panel takes real rework.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Drafting project proposals
changing shape
The software now makes the first pass at project proposals, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 50 · 3411/02
Source: “Draft project proposals for galleries, competitions, and artist residencies.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Proposals draft easily, but a convincing pitch to a specific gallery or panel needs heavy rework.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Creating digital content using technical software packages like Flash
changing shape
The software now makes the first pass at digital content, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3411/03
Source: “Create digital content using technical software packages like Flash, 3Ds Max, Maya, LightWave, Softimage, and Cinema 4D.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Software can produce a lot of a 3D scene, but building it to spec still needs a skilled operator.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Designing storyboards
changing shape
The software now makes the first pass at storyboards, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3411/03
Source: “Design storyboards.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Storyboards can be roughed out by software, though the final sequencing is a designer's call.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Using computer modelling and animation software to make characters and scenes
changing shape
The software now makes the first pass at computer, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3411/03
Source: “Use computer modelling and animation software to make characters and scenes.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Modelling and animation tools automate a lot, but building characters and scenes still needs an artist.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Applying directing and cinematography principles to animation story development
changing shape
The software now makes the first pass at cinematography principles, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 70 · 3411/03
Source: “Apply directing and cinematography principles to animation story development.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: The principles are well written up and can be applied to a draft, but the storytelling choices still come from the director.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Developing animations based on client concepts
changing shape
The software now makes the first pass at animations, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 70 · 3411/03
Source: “Develop animations based on client concepts.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: A client concept can be turned into draft animation quickly, but delivering the finished piece still involves substantial reworking.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Ensuring movements follow the soundtrack and audio requirements
changing shape
The software now makes the first pass at movements follow the soundtrack, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 70 · 3411/03
Source: “Ensure movements follow the soundtrack and audio requirements.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Syncing movement to audio is partly automated, but the feel of the timing still needs adjusting by hand.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Applying lighting, shading, colour and texture to enhance visual projects
changing shape
The software now makes the first pass at colour, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/03
Source: “Apply lighting, shading, colour, and texture to enhance visual projects.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Lighting and texturing have strong automatic helpers, though the final look is judged by eye and adjusted by the artist.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Developing sets and environments for animated narratives
changing shape
The software now makes the first pass at sets, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/03
Source: “Develop sets and environments for animated narratives.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Environment concepts come out well, but building sets that hold up across a whole story needs an artist to rebuild and refine them.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Editing animations to enhance storytelling and visual flow
changing shape
The software now makes the first pass at animations, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/03
Source: “Edit animations to enhance storytelling and visual flow.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Editing tools can suggest cuts, but deciding what makes a sequence flow is a judgement made by watching it back.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Informing superior when restoration of artefacts requires outside experts
changing shape
The software now makes the first pass at superior, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 75 · 3411/06
Source: “Inform superior when restoration of artefacts requires outside experts.” (UK task statement)
How this row was scored
Exposure score: 57 out of 100 (50–64 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; mistakes that are cheap to catch.
The rating behind it: Flagging that outside expertise is needed is a short written judgement, though knowing when rests on experience.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Writing scripts for animated narrative sequences under tight deadlines using computer software and hand drawing techniques
changing shape
The software now makes the first pass at scripts, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3411/03
Source: “Write scripts for animated narrative sequences under tight deadlines using computer software and hand drawing techniques.” (UK task statement)
How this row was scored
Exposure score: 56 out of 100 (49–63 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Script drafts come out quickly, though the task also involves drawing by hand, which still needs the writer's pen.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Documenting the condition of artefacts in conservation laboratory reports
changing shape
The software now makes the first pass at the condition of artefacts, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 3411/06
Source: “Document the condition of artefacts in conservation laboratory reports.” (UK task statement)
How this row was scored
Exposure score: 56 out of 100 (52–60 allowing for uncertainty): partial exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Writing up condition notes into a report is document work once the object has been examined.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Selecting specific cleaning materials and tools for designated surfaces or areas
changing shape
The software now makes the first pass at specific cleaning materials, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3411/06
Source: “Select specific cleaning materials and tools for designated surfaces or areas.” (UK task statement)
How this row was scored
Exposure score: 56 out of 100 (49–63 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Matching cleaning products to surface types is a documented lookup, though someone usually has to see the area first.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Classifying and assigning registration numbers to artefacts
changing shape
The software now makes the first pass at registration numbers, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/06
Source: “Classify and assign registration numbers to artefacts.” (UK task statement)
How this row was scored
Exposure score: 56 out of 100 (49–63 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Assigning catalogue numbers follows documented cataloguing rules, though the object must be examined first.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Supervising inventory control of classified artefacts
changing shape
The software now makes the first pass at inventory control of classified artefacts, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/06
Source: “Supervise inventory control of classified artefacts.” (UK task statement)
How this row was scored
Exposure score: 56 out of 100 (52–60 allowing for uncertainty): partial exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Inventory control is record-keeping and tracking, which collection systems already do well.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Communicating with clients to understand their animation needs
changing shape
The software now makes the first pass at clients, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 70 · 3411/03
Source: “Communicate with clients to understand their animation needs.” (UK task statement)
How this row was scored
Exposure score: 53 out of 100 (46–60 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Structured questions capture the brief, but understanding what a client actually wants takes conversation.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Discussing requirements with authors
changing shape
The software now makes the first pass at requirements, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/04
Source: “Discuss requirements with authors.” (UK task statement)
How this row was scored
Exposure score: 53 out of 100 (46–60 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; the value is that a specific person does it.
The rating behind it: The requirements can be captured in notes, but authors work these things out by talking them through.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Negotiating deadlines for project delivery
changing shape
The software now makes the first pass at deadlines, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 50 · 3411/04
Source: “Negotiate deadlines for project delivery.” (UK task statement)
How this row was scored
Exposure score: 53 out of 100 (46–60 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Deadlines are simple to propose, but agreeing one that both sides will honour is a conversation.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Speculativelying approach potential commissioners to seek new sources of work
changing shape
The software now makes the first pass at approach potential commissioners, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 50 · 3411/04
Source: “Speculatively approach potential commissioners to seek new sources of work.” (UK task statement)
How this row was scored
Exposure score: 53 out of 100 (46–60 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Pitch letters draft easily, but getting a commissioner to say yes usually rests on personal contact.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Estimating cost of restoration work
changing shape
The software now makes the first pass at cost of restoration work, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 70 · 3411/06
Source: “Estimate cost of restoration work.” (UK task statement)
How this row was scored
Exposure score: 51 out of 100 (44–58 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; mistakes that are cheap to catch.
The rating behind it: Costing restoration is calculation from rates and hours, though the hours come from seeing the object.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Planning projects to ensure artistic vision and execution
changing shape
The software now makes the first pass at projects, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 70 · 3411/02
Source: “Plan projects to ensure artistic vision and execution.” (UK task statement)
How this row was scored
Exposure score: 50 out of 100 (43–57 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch.
The rating behind it: Project plans are easy to draft, but the artistic direction they serve is personal to the artist.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Developing the timing and pace of movements for characters or objects in image sequences
changing shape
The software now makes the first pass at the timing and pace of movements, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3411/03
Source: “Develop the timing and pace of movements for characters or objects in image sequences.” (UK task statement)
How this row was scored
Exposure score: 50 out of 100 (43–57 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch.
The rating behind it: Timing and weight of movement is craft judgement that is hard to describe and hard to copy.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Ensuring deadlines are met
changing shape
The software now makes the first pass at deadlines are met, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/02, 3411/03
Source: “Ensure deadlines are met.” (UK task statement)
How this row was scored
Exposure score: 49 out of 100 (42–56 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Meeting deadlines is about chasing and organising people, though tools track and flag progress well.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Copying evidence from slides and x-rays for analysis and record-keeping
changing shape
The software now makes the first pass at evidence, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/05
Source: “Copy evidence from slides and x-rays for analysis and record-keeping.” (UK task statement)
How this row was scored
Exposure score: 49 out of 100 (42–56 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Copying and filing images from slides and x-rays is largely a scanning and records job.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 1/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Sourcing materials for production needs
changing shape
The software now makes the first pass at materials, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 50 · 3411/02
Source: “Source materials for production needs.” (UK task statement)
How this row was scored
Exposure score: 48 out of 100 (41–55 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Finding and ordering materials is mostly searching and buying, though some sourcing is done in person.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Ensuring the availability of necessary materials for exhibitions
changing shape
The software now makes the first pass at the availability of necessary materials, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/06
Source: “Ensure the availability of necessary materials for exhibitions.” (UK task statement)
How this row was scored
Exposure score: 48 out of 100 (41–55 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Tracking and ordering exhibition materials is ordinary purchasing and stock work software handles.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Conducting evaluations of art projects to refine techniques and artistic expression
changing shape
The software now makes the first pass at evaluations of art projects, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3411/02
Source: “Conduct evaluations of art projects to refine techniques and artistic expression.” (UK task statement)
How this row was scored
Exposure score: 43 out of 100 (36–50 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch.
The rating behind it: Judging whether your own work is going in the right direction relies on taste built up over years.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Building up accurate, detailed, frame-by-frame visuals
changing shape
The software now makes the first pass at accurate, detailed, frame-by-frame visuals, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3411/03
Source: “Build up accurate, detailed, frame-by-frame visuals.” (UK task statement)
How this row was scored
Exposure score: 43 out of 100 (36–50 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Frame-by-frame consistency is still where generated sequences drift, so heavy correction is normal.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Rendering sequential drawings for animated films or adverts
changing shape
The software now makes the first pass at sequential drawings, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3411/04
Source: “Render sequential drawings for animated films or adverts.” (UK task statement)
How this row was scored
Exposure score: 43 out of 100 (36–50 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Sequential drawing is partly automatable, but keeping characters consistent across frames still needs redrawing.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Liaising with clients to identify their requirements
changing shape
The software now makes the first pass at clients, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 50 · 3411/04
Source: “Liaise with clients to identify their requirements.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Drawing out what a client actually needs happens in conversation with them.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Negotiating prices and hiring services
changing shape
The software now makes the first pass at prices, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 50 · 3411/04
Source: “Negotiate prices and hire services.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Rates can be compared automatically, but the haggling and booking is done between people.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Redefining a brief through further consultation with the client to include new ideas or text
changing shape
The software now makes the first pass at a brief, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 50 · 3411/04
Source: “Redefine a brief through further consultation with the client to include new ideas or text as appropriate.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Reopening a brief with a client depends on reading how far they will move, which happens in conversation.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Presenting artistic designs to clients for approval
staying human
The value here is that a specific person handles artistic designs and stands behind it. That is earned, not computed.
importance 60 · 3411/02, 3411/04, 3411/05
Source: “Present artistic designs to clients for approval.” (UK task statement)
How this row was scored
Exposure score: 39 out of 100 (32–46 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; the value is that a specific person does it.
The rating behind it: The presentation itself is easy to produce; winning a client’s approval usually happens face to face.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Coordinating with technical staff, artists and curators on museum projects
staying human
The value here is that a specific person handles technical staff, artists and curators and stands behind it. That is earned, not computed.
importance 60 · 3411/06
Source: “Coordinate with technical staff, artists, and curators on museum projects.” (UK task statement)
How this row was scored
Exposure score: 39 out of 100 (32–46 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Keeping artists, curators and technicians aligned is scheduling and messaging, though agreement still needs conversation.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Advising clients on suitable tattoos
staying human
The value here is that a specific person handles clients and stands behind it. That is earned, not computed.
importance 85 · 3411/08
Source: “Advise clients on suitable tattoos.” (UK task statement)
How this row was scored
Exposure score: 39 out of 100 (32–46 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Design suggestions are easy to generate, but a permanent choice is discussed face to face.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Selecting the best combination of materials for specific purposes
staying human
The ratings behind this row put the best combination of materials well outside what today's tools can do on their own.
importance 50 · 3411/01
Source: “Select the best combination of materials for specific purposes.” (UK task statement)
How this row was scored
Exposure score: 38 out of 100 (31–45 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch.
The rating behind it: Material properties are documented and searchable, but choosing what will give the right result often comes from handling them.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Assembling digital camera-ready art or film negatives
staying human
This work happens in the physical world: digital camera-ready art, in a real place. Software cannot follow it there.
importance 50 · 3411/03
Source: “Assemble digital camera-ready art or film negatives.” (UK task statement)
How this row was scored
Exposure score: 38 out of 100 (31–45 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Preparing digital files is automatic; handling physical film negatives is not.
The five ratings: output a model can produce 3/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Creating three-dimensional models to demonstrate anatomy
staying human
The ratings behind this row put three-dimensional models well outside what today's tools can do on their own.
importance 80 · 3411/05
Source: “Create three-dimensional models to demonstrate anatomy, pathology, or surgical procedures.” (UK task statement)
How this row was scored
Exposure score: 38 out of 100 (31–45 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Anatomy models can be built digitally, but clinical accuracy still needs a specialist checking the detail.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 1/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Developing a piece of work in response to a brief or commission
staying human
The ratings behind this row put a piece of work well outside what today's tools can do on their own.
importance 70 · 3411/02
Source: “Develop a piece of work in response to a brief or commission.” (UK task statement)
How this row was scored
Exposure score: 37 out of 100 (30–44 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: A commission can be started automatically, but making it genuinely answer the brief needs real reworking.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Communicating with gallery owners for exhibition arrangements
staying human
The value here is that a specific person handles gallery owners and stands behind it. That is earned, not computed.
importance 70 · 3411/02, 3411/04
Source: “Communicate with gallery owners for exhibition arrangements.” (UK task statement)
How this row was scored
Exposure score: 35 out of 100 (28–42 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Agreeing exhibition arrangements with other galleries is a negotiation between people who know each other.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Conferring with conservators to determine how to handle an exhibit's environmental aspects
staying human
The ratings behind this row put conservators well outside what today's tools can do on their own.
importance 80 · 3411/06
Source: “Confer with conservators to determine how to handle an exhibit's environmental aspects, such as lighting, temperature, and humidity, so that objects will be protected and exhibits will be enhanced.” (UK task statement)
How this row was scored
Exposure score: 32 out of 100 (25–39 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Recommended light and humidity levels are published, but agreeing what a particular object needs is a discussion with conservators.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 1/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Developing creative ideas and concepts in partnership with the art director
staying human
The value here is that a specific person handles creative ideas and stands behind it. That is earned, not computed.
importance 60 · 3411/02
Source: “Develop creative ideas and concepts in partnership with the art director.” (UK task statement)
How this row was scored
Exposure score: 30 out of 100 (23–37 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Software generates plenty of concepts, but developing them with an art director is a back-and-forth between two people.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Delivering presentations to various stakeholders
staying human
The value here is that a specific person handles presentations and stands behind it. That is earned, not computed.
importance 50 · 3411/03
Source: “Deliver presentations to various stakeholders.” (UK task statement)
How this row was scored
Exposure score: 30 out of 100 (23–37 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Slides are quick to produce, but presenting to stakeholders means standing up in front of them.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Organising meetings with writers and artists to discuss artwork
staying human
The value here is that a specific person handles meetings and stands behind it. That is earned, not computed.
importance 50 · 3411/03, 3411/04, 3411/05
Source: “Organise meetings with writers and artists to discuss artwork, layout, and features.” (UK task statement)
How this row was scored
Exposure score: 30 out of 100 (23–37 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Meetings about artwork and layout are where writers and artists work things out together.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Collaborating with writers to integrate ideas
staying human
The value here is that a specific person handles writers and stands behind it. That is earned, not computed.
importance 70 · 3411/04, 3411/05
Source: “Collaborate with writers to integrate ideas, stories, or captions with artists' work.” (UK task statement)
How this row was scored
Exposure score: 30 out of 100 (23–37 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Fitting words to an artist's work is settled together, even though captions and copy can be drafted automatically.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Discussing the brief and designing concepts with the design team
staying human
The value here is that a specific person handles the brief and stands behind it. That is earned, not computed.
importance 60 · 3411/04, 3411/08
Source: “Discuss the brief and design concepts with the design team.” (UK task statement)
How this row was scored
Exposure score: 30 out of 100 (23–37 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Design discussions are live sessions where ideas get argued out between people.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Designing and preparing templates of wood
staying human
This work happens in the physical world: templates of wood, in a real place. Software cannot follow it there.
importance 50 · 3411/01
Source: “Design and prepare templates of wood, paper, or metal.” (UK task statement)
How this row was scored
Exposure score: 29 out of 100 (22–36 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Designing the template can be done on screen; cutting it from wood or metal cannot.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Creating pen-and-paper images for digital enhancement
staying human
This work happens in the physical world: pen-and-paper images, in a real place. Software cannot follow it there.
importance 70 · 3411/03
Source: “Create pen-and-paper images for digital enhancement.” (UK task statement)
How this row was scored
Exposure score: 29 out of 100 (22–36 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: The images are meant to be made on paper first, so this starts with a pen in someone's hand before anything is scanned.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Converting real objects to animated objects using modelling and optical scanning techniques
staying human
This work happens in the physical world: real objects, in a real place. Software cannot follow it there.
importance 60 · 3411/03
Source: “Convert real objects to animated objects using modelling and optical scanning techniques.” (UK task statement)
How this row was scored
Exposure score: 29 out of 100 (22–36 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Turning a real object into a digital model starts with physically scanning it, so someone has to handle the object and the kit.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Producing original artwork
staying human
This work happens in the physical world: original artwork, in a real place. Software cannot follow it there.
importance 70 · 3411/04
Source: “Produce original artwork.” (UK task statement)
How this row was scored
Exposure score: 29 out of 100 (22–36 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Original work often means physical materials, and originality is what the artist brings.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Creating finished artwork for decoration
staying human
This work happens in the physical world: finished artwork, in a real place. Software cannot follow it there.
importance 60 · 3411/04, 3411/07, 3411/08
Source: “Create finished artwork for decoration.” (UK task statement)
How this row was scored
Exposure score: 29 out of 100 (22–36 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Decorative artwork is frequently made in physical materials on the surface it decorates.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Adhering to health and safety requirements in the workplace
staying human
This work happens in the physical world: health, in a real place. Software cannot follow it there.
importance 80 · 3411/08
Source: “Adhere to health and safety requirements in the workplace.” (UK task statement)
How this row was scored
Exposure score: 29 out of 100 (22–36 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: The rules and risk assessments are documented, but working safely with tools and materials happens in the studio.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Negotiating a sale or commission for artworks
staying human
The value here is that a specific person handles a sale and stands behind it. That is earned, not computed.
importance 60 · 3411/02
Source: “Negotiate a sale or commission for artworks.” (UK task statement)
How this row was scored
Exposure score: 28 out of 100 (21–35 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Agreeing a price for your own work is a personal negotiation with a specific buyer.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Negotiating project requirements with clients
staying human
The value here is that a specific person handles project requirements and stands behind it. That is earned, not computed.
importance 50 · 3411/03
Source: “Negotiate project requirements with clients.” (UK task statement)
How this row was scored
Exposure score: 28 out of 100 (21–35 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Agreeing what a project will actually include is a negotiation between two people with different interests.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Collaborating with curators on art display concepts
staying human
The value here is that a specific person handles curators and stands behind it. That is earned, not computed.
importance 60 · 3411/02
Source: “Collaborate with curators on art display concepts.” (UK task statement)
How this row was scored
Exposure score: 26 out of 100 (19–33 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Ideas for a display can be generated quickly, but agreeing them happens in conversation with curators.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Supporting the creative team by following designs and artwork from conception to final sign-
staying human
The value here is that a specific person handles the creative team and stands behind it. That is earned, not computed.
importance 50 · 3411/02
Source: “Support the creative team by following designs and artwork from conception to final sign-off.” (UK task statement)
How this row was scored
Exposure score: 26 out of 100 (19–33 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Shepherding artwork through to sign-off depends on working closely with the rest of the team.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Deciding on the best methods to repair damage
staying human
This work happens in the physical world: the best methods, in a real place. Software cannot follow it there.
importance 90 · 3411/06
Source: “Decide on the best methods to repair damage.” (UK task statement)
How this row was scored
Exposure score: 25 out of 100 (18–32 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Choosing a repair method depends on handling the object and on experience that is rarely written down.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Examining materials to determine conservation policies and procedures
staying human
This work happens in the physical world: materials, in a real place. Software cannot follow it there.
importance 90 · 3411/06
Source: “Examine materials to determine conservation policies and procedures.” (UK task statement)
How this row was scored
Exposure score: 25 out of 100 (18–32 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Deciding how to conserve something starts with examining the actual material in front of you.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Differentiating between items that need repairing and items that need replacement
staying human
This work happens in the physical world: items, in a real place. Software cannot follow it there.
importance 75 · 3411/06
Source: “Differentiate between items that need repairing and items that need replacement.” (UK task statement)
How this row was scored
Exposure score: 25 out of 100 (18–32 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Telling repairable from beyond-repair depends on handling the item and on experience.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Creating sketches, profiles or likenesses of subjects using freehand, kits and computer imaging
staying human
This work happens in the physical world: sketches, profiles or likenesses of subjects, in a real place. Software cannot follow it there.
importance 70 · 3411/04, 3411/05, 3411/07, 3411/08
Source: “Create sketches, profiles, or likenesses of subjects using freehand, kits, and computer imaging.” (UK task statement)
How this row was scored
Exposure score: 24 out of 100 (17–31 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Composite likenesses can be generated on screen, but freehand portrait work is done by hand.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Curating individual and group shows
staying human
This work happens in the physical world: individual, in a real place. Software cannot follow it there.
importance 60 · 3411/02
Source: “Curate individual and group shows.” (UK task statement)
How this row was scored
Exposure score: 21 out of 100 (14–28 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Curating a show is a taste judgement made partly by seeing works together in a physical space.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Learning how to apply different techniques to artistic endeavours by studying them
staying human
This work happens in the physical world: how, in a real place. Software cannot follow it there.
importance 60 · 3411/04, 3411/05, 3411/07, 3411/08
Source: “Learn how to apply different techniques to artistic endeavours by studying them.” (UK task statement)
How this row was scored
Exposure score: 20 out of 100 (13–27 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: You can read about a technique, but learning it means practising with your hands.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Discussing issues with editors to establish priorities or positions
staying human
The value here is that a specific person handles issues and stands behind it. That is earned, not computed.
importance 50 · 3411/04
Source: “Discuss issues with editors to establish priorities or positions.” (UK task statement)
How this row was scored
Exposure score: 13 out of 100 (9–17 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Agreeing priorities and positions with an editor is a judgment conversation between colleagues.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Constructing prototypes or models for objects
staying human
This work happens in the physical world: prototypes, in a real place. Software cannot follow it there.
importance 60 · 3411/01
Source: “Construct prototypes or models for objects to be crafted.” (UK task statement)
How this row was scored
Exposure score: 10 out of 100 (6–14 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Making a prototype or model is workshop work.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Developing graphics and animations using traditional techniques to create engaging content
staying human
This work happens in the physical world: graphics, in a real place. Software cannot follow it there.
importance 80 · 3411/03
Source: “Develop graphics and animations using traditional techniques to create engaging content.” (UK task statement)
How this row was scored
Exposure score: 10 out of 100 (6–14 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Traditional animation technique means drawing and handling artwork by hand.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Creating images and designs using traditional drawing and painting skills to meet design briefs
staying human
This work happens in the physical world: images, in a real place. Software cannot follow it there.
importance 70 · 3411/04
Source: “Create images and designs using traditional drawing and painting skills to meet design briefs.” (UK task statement)
How this row was scored
Exposure score: 10 out of 100 (6–14 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Traditional drawing and painting means physically making the marks.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Photographing objects to create detailed documentation records
staying human
This work happens in the physical world: objects, in a real place. Software cannot follow it there.
importance 80 · 3411/06
Source: “Photograph objects to create detailed documentation records.” (UK task statement)
How this row was scored
Exposure score: 10 out of 100 (3–17 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Photographing an object means holding a camera to the real thing under the right light.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Carrying out tests to establish storage requirements for materials
staying human
This work happens in the physical world: tests, in a real place. Software cannot follow it there.
importance 70 · 3411/06
Source: “Carry out tests to establish storage requirements for materials.” (UK task statement)
How this row was scored
Exposure score: 10 out of 100 (6–14 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Running tests on materials means working with samples and equipment in a lab.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Engaging with other artists for collaborative projects
staying human
This work happens in the physical world: other artists, in a real place. Software cannot follow it there.
importance 60 · 3411/02
Source: “Engage with other artists for collaborative projects.” (UK task statement)
How this row was scored
Exposure score: 9 out of 100 (2–16 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Collaborations start and survive because artists know and trust each other personally.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Collaborating with clinical staff and professionals to provide patient care
staying human
The value here is that a specific person handles clinical staff and stands behind it. That is earned, not computed.
importance 60 · 3411/05
Source: “Collaborate with clinical staff and professionals to provide patient care.” (UK task statement)
How this row was scored
Exposure score: 9 out of 100 (2–16 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: An artist working on a ward brings the creative side while registered staff give the care, and it depends on being present with patients.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 1/4 · needs to be trusted in the moment 3/4 · how much data exists 1/4.
Designing and fabricating missing or broken parts of artefacts to prevent deterioration
staying human
This work happens in the physical world: broken parts of artefacts, in a real place. Software cannot follow it there.
importance 85 · 3411/06
Source: “Design and fabricate missing or broken parts of artefacts to prevent deterioration.” (UK task statement)
How this row was scored
Exposure score: 8 out of 100 (4–12 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Making a replacement part for an artefact is skilled work with tools and materials.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Ensuring the safety of artefacts
staying human
This work happens in the physical world: the safety of artefacts, in a real place. Software cannot follow it there.
importance 80 · 3411/06
Source: “Ensure the safety of artefacts, report their status and condition, and correct any setup problems.” (UK task statement)
How this row was scored
Exposure score: 8 out of 100 (4–12 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Condition checks and fixing a display mean physically examining and handling the objects on site.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Supporting the curation and displaying setup of artefacts in a museum setting
staying human
This work happens in the physical world: the curation, in a real place. Software cannot follow it there.
importance 70 · 3411/06
Source: “Support the curation and display setup of artefacts in a museum setting.” (UK task statement)
How this row was scored
Exposure score: 7 out of 100 (3–11 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Layout ideas can be drawn up on screen, but hanging and placing the objects is careful hands-on work.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Building creations with engineers, mechanics and technical experts
staying human
This work happens in the physical world: creations, in a real place. Software cannot follow it there.
importance 60 · 3411/07
Source: “Build creations with engineers, mechanics, and technical experts.” (UK task statement)
How this row was scored
Exposure score: 6 out of 100 (2–10 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Building something with engineers and technicians happens in a workshop with everyone present.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Teaching different art techniques through workshops and classes
staying human
This work happens in the physical world: different art techniques, in a real place. Software cannot follow it there.
importance 60 · 3411/07
Source: “Teach different art techniques through workshops and classes.” (UK task statement)
How this row was scored
Exposure score: 6 out of 100 (2–10 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Teaching a technique means watching learners’ hands and correcting them there and then.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 3/4.
Carrying out self-promotion activities, including networking and attending private viewings and other events
staying human
This work happens in the physical world: self-promotion activities, in a real place. Software cannot follow it there.
importance 70 · 3411/02
Source: “Carry out self-promotion activities, including networking and attending private viewings and other events.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–8 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Networking at private views works because people meet you and remember you.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Applying finishes to art objects for preservation
staying human
This work happens in the physical world: finishes, in a real place. Software cannot follow it there.
importance 80 · 3411/01
Source: “Apply finishes to art objects for preservation.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Applying a finish to an object is hands-on work with materials.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Modeling substances, clay or wax, using fingers and small hand tools to form objects
staying human
This work happens in the physical world: substances, clay or wax, in a real place. Software cannot follow it there.
importance 60 · 3411/01, 3411/07
Source: “Model substances such as clay or wax, using fingers and small hand tools to form objects.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Shaping clay or wax with fingers and small tools is physical making.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.
Shaping or cutting materials to specified measurements
staying human
This work happens in the physical world: materials, in a real place. Software cannot follow it there.
importance 50 · 3411/01
Source: “Shape or cut materials to specified measurements, using hand tools, machines, or power saws.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Cutting and shaping material to size is done with tools on the material.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Creating artwork with oil paints
staying human
This work happens in the physical world: artwork, in a real place. Software cannot follow it there.
importance 80 · 3411/02, 3411/04
Source: “Create artwork with oil paints.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Putting oil paint on a surface is physical work with real materials.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Using watercolours for painting
staying human
This work happens in the physical world: watercolours, in a real place. Software cannot follow it there.
importance 80 · 3411/02, 3411/04, 3411/05
Source: “Use watercolours for painting.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Painting in watercolour is hands-on work with brush, water and paper.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Employing charcoal for drawing
staying human
This work happens in the physical world: charcoal, in a real place. Software cannot follow it there.
importance 70 · 3411/02, 3411/03, 3411/04, 3411/08
Source: “Employ charcoal for drawing.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Drawing in charcoal is physical work with the material on the page.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Making models based on ideas
staying human
This work happens in the physical world: models, in a real place. Software cannot follow it there.
importance 60 · 3411/02
Source: “Make models based on ideas.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Making a physical model means working the material by hand.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Tracing drawings onto clear acetate for painting or colouring
staying human
This work happens in the physical world: drawings, in a real place. Software cannot follow it there.
importance 60 · 3411/04
Source: “Trace drawings onto clear acetate for painting or colouring.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Tracing onto acetate is physical work with the sheet in front of you.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Tracing drawings with ink to make final copies
staying human
This work happens in the physical world: drawings, in a real place. Software cannot follow it there.
importance 60 · 3411/04
Source: “Trace drawings with ink to make final copies.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Inking a final copy by hand is physical craft.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Capturing 3D images of structures
staying human
This work happens in the physical world: 3D images of structures, in a real place. Software cannot follow it there.
importance 70 · 3411/05
Source: “Capture 3D images of structures such as the eye using specialist equipment.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; someone qualified has to answer for it.
The rating behind it: Capturing images of a patient’s eye means operating equipment with the patient in front of you.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 2/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Photographing operations and treatments to monitor their effectiveness
staying human
This work happens in the physical world: operations, in a real place. Software cannot follow it there.
importance 60 · 3411/05
Source: “Photograph operations and treatments to monitor their effectiveness.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Photographing an operation means being in theatre with a camera.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 1/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Photographing or filming medical equipment for clinician teaching purposes
staying human
This work happens in the physical world: medical equipment, in a real place. Software cannot follow it there.
importance 60 · 3411/05
Source: “Photograph or film medical equipment for clinician teaching purposes.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Photographing equipment means being in the room with it and the camera.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Taking and processing photographs or films of patients
staying human
This work happens in the physical world: photographs, in a real place. Software cannot follow it there.
importance 60 · 3411/05
Source: “Take and process photographs or films of patients, focusing on parts affected by illness or injury.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; someone qualified has to answer for it; the value is that a specific person does it.
The rating behind it: Photographing a patient’s injury means being with the patient, camera in hand.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 2/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Photographing non-accidental injuries for forensic analysis
staying human
This work happens in the physical world: non-accidental injuries, in a real place. Software cannot follow it there.
importance 50 · 3411/05
Source: “Photograph non-accidental injuries for forensic analysis.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; someone qualified has to answer for it; the value is that a specific person does it.
The rating behind it: Photographing injuries for evidence means being present with the person and the camera.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 2/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Photographing objects, places or scenes to compile reference material
staying human
This work happens in the physical world: objects, places or scenes, in a real place. Software cannot follow it there.
importance 50 · 3411/05
Source: “Photograph objects, places, or scenes to compile reference material.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Taking reference photographs means going to the object or place with a camera.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Preserving objects using materials like plaster
staying human
This work happens in the physical world: objects, in a real place. Software cannot follow it there.
importance 90 · 3411/06
Source: “Preserve objects using materials like plaster, resin, and sealants.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Applying plaster, resin and sealants to objects is hands-on work.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Conducting on-site field work, interviewing individuals, inspecting and identifying artefacts, taking notes
staying human
This work happens in the physical world: on-site field work, interviewing individuals, in a real place. Software cannot follow it there.
importance 50 · 3411/06
Source: “Conduct on-site field work including interviewing individuals, inspecting and identifying artefacts, taking notes, viewing sites and collections, and repainting exhibition spaces.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Site visits, handling artefacts and repainting spaces are all jobs that need you physically there.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Carving or repairing statues or memorial headstones
staying human
This work happens in the physical world: statues, in a real place. Software cannot follow it there.
importance 90 · 3411/07
Source: “Carve or repair statues or memorial headstones.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Carving stone is physical work with tools in your hands.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Cutting and bending materials to form sculptures or body art designs
staying human
This work happens in the physical world: materials, in a real place. Software cannot follow it there.
importance 90 · 3411/07
Source: “Cut and bend materials to form sculptures or body art designs.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Cutting and bending material into shape is hands-on work.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Fabricating three-dimensional artwork from various materials
staying human
This work happens in the physical world: three-dimensional artwork, in a real place. Software cannot follow it there.
importance 90 · 3411/07
Source: “Fabricate three-dimensional artwork from various materials.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Building three-dimensional work from materials is physical making.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Shaping materials like clay, stone, wood or metal into sculptures using tools
staying human
This work happens in the physical world: materials like clay, stone, wood or metal, in a real place. Software cannot follow it there.
importance 90 · 3411/07
Source: “Shape materials like clay, stone, wood, or metal into sculptures using tools.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Shaping clay, stone, wood or metal with tools is entirely physical.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Fastening materials to create sculptures or body art designs
staying human
This work happens in the physical world: materials, in a real place. Software cannot follow it there.
importance 85 · 3411/07
Source: “Fasten materials to create sculptures or body art designs.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Fixing materials together to hold a form is hands-on work.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Laminating and arranging materials to form artworks
staying human
This work happens in the physical world: materials, in a real place. Software cannot follow it there.
importance 80 · 3411/07
Source: “Laminate and arrange materials to form artworks.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Laminating and arranging materials by hand is physical work.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Setting up exhibitions of artwork for display or sale
staying human
This work happens in the physical world: exhibitions of artwork, in a real place. Software cannot follow it there.
importance 70 · 3411/07
Source: “Set up exhibitions of artwork for display or sale.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Hanging and arranging an exhibition means physically handling and placing the work.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Following the design lines with an electrically-operated needle to inject ink under the skin
staying human
This work happens in the physical world: the design lines, in a real place. Software cannot follow it there.
importance 95 · 3411/08
Source: “Follow the design lines with an electrically-operated needle to inject ink under the skin.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Putting ink under someone’s skin with a needle is entirely physical and done on a real person.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Following strict hygiene procedures to ensure client safety and cleanliness
staying human
This work happens in the physical world: strict hygiene procedures, in a real place. Software cannot follow it there.
importance 90 · 3411/08
Source: “Follow strict hygiene procedures to ensure client safety and cleanliness.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world.
The rating behind it: Sterilising tools and keeping the workstation clean has to be done by hand, in the salon.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Transferring the chosen design onto the customer's skin
staying human
This work happens in the physical world: the chosen design, in a real place. Software cannot follow it there.
importance 90 · 3411/08
Source: “Transfer the chosen design onto the customer's skin, using freehand drawing or transfer techniques.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Getting the design onto the customer’s skin is hands-on work on the person.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.

What this job pays, and how many people do it

Median pay: £47,800a year, before tax, the middle of the range, so half earn more and half earn less.ashe-t14, 2025 · ASHE 2025 provisional (reference April 2025)Provisional, because the ONS revises this figure in the autumn.
How we know this
Source: ashe-t14
Reference period: ASHE 2025 provisional (reference April 2025)
Rounding: Shown to the nearest £100. The exact published figure is in the downloadable dataset. We do not render pounds the survey cannot support.
People doing this job: 64,500in the UK, 2026.nomis-aps · Apr 2025-Mar 2026 (latest APS 12-month period)This headcount comes from a survey, not a census, so treat it as a good estimate rather than an exact count.

What is deliberately not here: a forecast of how many of these jobs exist in ten years. Where an official projection exists for a market we publish it with its vintage; where it does not, we leave the space empty rather than borrow the other country’s number.

Why this is shifting

The reason is boringly specific. Most of what is shifting here is reading one thing and writing another: finished artwork in, a record out. The rows above are exactly that shape: creating finished artwork to elucidate or substitute for spoken or written messages and creating sketches of cartoon characters from memory. What it cannot do is be there in the room, and that is still where artwork gets done. Which is why this page talks about your tasks changing, not your job ending.

Your move

Over a pint: what I’d tell you if you were my friend

Your week is splitting in two, and which half fills it is the whole question. Creating finished artwork to elucidate or substitute for spoken or written messages is going; creating artwork using pens and ink is not.

So, given all that: 21% of this job's task weight sits in rows the software is already learning, 25% in rows that change shape rather than disappear, and 54% in rows it is nowhere near. That is the position, measured across 149 scored tasks. It is not a forecast about you.

The occupation is an average and you are not, so the first job below is finding out where your own week actually sits.

This week: one thing

Print the task ledger above and put your own hours next to each row. Roughly, in pen, in one sitting. Then look at which group your hours actually pile up in. Twenty minutes, this week.

What you end up holding: your own week, on one page, sorted into what is shifting and what is not
How long it takes: about twenty minutes

If printing it isn’t practical: Read the rows off this page and write the same list on the back of an envelope. Same twenty minutes, same page, and it works just as well said out loud to someone who knows the job. The point is your hours next to the rows, not the paper it is on.

Over the next 90 days

Volunteer toward the durable end, visibly. Over the next ninety days put your hand up for the work in the bottom group (creating artwork using pens and ink) and let people see you doing it. Not a new project: the same job, with your mix deliberately tilted. The point is that when the rota or the reorganisation comes, the version of you people picture is the one doing the part that stays.

Over the next 12 months

Claim a specialism at the durable end and let the other end go. Over a year, deliberately become the person who handles creating artwork using pens and ink, and deliberately stop being the first choice for the rows in the top group. That trade costs something, because the exposed work is often the comfortable work. Decide it on purpose rather than by drift. Before you pay for anything, spend an hour with National Careers Service. It is free and government-funded, and it is listed below with the rest of the free routes.

The roads out of here, and why I am not sending you down them

I looked at the obvious moves out of this job, and here is what I found.

I checked the 12 nearest UK occupations to artists (nearest by the work that AI is not taking, not by job title), and none of them survived. The closest was archivists, conservators and curators: only about 6% of its durable work is work you already do and it pays 28.3% less. And on the numbers you do not need one. This job scores 37/100 here, with only 21% of the task list in the top band, and “follow the design lines with an electrically-operated needle to inject ink under…” is not work that hands over cleanly. None of them beats deepening what you already have.

How that was checked: this job was compared against all 412 UK occupations in this release on their official task statements, and the 12 nearest were examined one by one. A move that turns on an industry, an employer or a qualification rather than on the work itself will not show up in a check like that. And this release carries no licence register, so anything you are weighing needs that looked up separately.

3 moves I checked and rejected

These are the obvious-looking jumps. They are here with their reasons rather than quietly dropped, because the ones that fail are worth knowing about. It is one less thing to turn over at night.

Archivists, conservators and curators
Why it looked obvious: It came up as a near neighbour because one of your tasks is on their list in the same words: “preserve objects using materials like plaster, resin, and sealants”. Across the whole of both lists that adds up to about 6% of the work in that job the software is not taking.
Why I am not recommending it: Almost none of it is work you already do: about 6% of the durable side of that job. That is a different job, not a next step. It is a pay cut, in those words: £34,237 against your £47,763, 28.3% less (ASHE Table 14.7a, 2025 provisional (both)). Retraining to earn less is a decision, not advice.
Look at that job’s page anyway →
Graphic and multimedia designers
Why it looked obvious: It came up as a near neighbour because one of your tasks is on their list in the same words: “write scripts for animated narrative sequences under tight deadlines using computer software and hand drawing techniques”. Across the whole of both lists that adds up to about 3% of the work in that job the software is not taking.
Why I am not recommending it: Almost none of it is work you already do: about 3% of the durable side of that job. That is a different job, not a next step. It is a pay cut, in those words: £32,510 against your £47,763, 31.9% less (ASHE Table 14.7a, 2025 provisional (both)). Retraining to earn less is a decision, not advice.
Look at that job’s page anyway →
Programmers and software development professionals
Why it looked obvious: It came up as a near neighbour because one of your tasks is on their list in the same words: “use computer modelling and animation software to make characters and scenes”. Across the whole of both lists that adds up to about 2% of the work in that job the software is not taking.
Why I am not recommending it: Almost none of it is work you already do: about 2% of the durable side of that job. That is a different job, not a next step. I will not move you off one melting floe onto another: 61% of its own task list already scores in the top exposure band (63/100 in this release), so the same software is eating it.
Look at that job’s page anyway →

What I’d stop worrying about

A friend tells you what not to spend fear on. This is that list.

The headline number you read somewhere
The big “X% of jobs” figures are about the whole economy, not about you. The number that describes your job is on this page: 21% of its task weight, across 149 scored tasks. Every row behind it is printed above with the source. Check ours; ignore theirs.
The whole-job doom story
Nothing on this page says this job ends. It says the mix inside it moves. Half the rows above are unchanged or changing shape, and the plan is about which half your week sits in. That is a very different problem, and a solvable one.
Panic-buying a course
Do the twenty-minute sorting exercise first. Most people who buy a course before they have done it buy the wrong one, and the free services listed below will tell you the same thing without charging for it.
The “obvious” next job everyone suggests
I checked the obvious moves and most of them did not survive. The reasons are printed with the routes above, including the pay and the gate. A move that fails on the numbers is worth knowing about so you can stop turning it over at night.

You are reading the United Kingdom figures

The United States splits this work across more than one official group, of which Craft Artists is the closest. The pay and employment figures are not directly comparable, and we do not average them together.

Switch to the United States page →partial match

The other groups this work is counted across:

In US official statistics this job is counted as Craft Artists, Fine Artists, Including Painters, Sculptors, and Illustrators, Artists and Related Workers, All Other, Media and Communication Workers, All Other, Costume Attendants and Entertainment Attendants and Related Workers, All Other. Pay is shown separately for each of those groups (medians cannot be averaged together), while the task list and the scores on this page are for this group only.

Your route through this

Where to go next, and what it costs

Free, and complete

The moves above cost nothing. These are the real services that go with them: public, government-funded, and free at the point of use. Nothing on this page is behind an email address or a payment.

In England:
National Careers Service
A free hour with a government-funded careers adviser is worth more than another evening of reading. In England that's the National Careers Service.
Free, government-funded
- Discover your skills and careers (the skills assessment)
In England:
National Careers Service - Find a course
Search what's actually running near you before you spend anything.
Free to search; individual courses vary
In England:
Free courses for jobs (Level 3 qualifications)
A free Level 3 qualification you already qualify for beats a paid course you don't need.
Free for eligible adults
In England:
Skills Bootcamps
Free, up to 16 weeks, and you get a job interview at the end. In England these are Skills Bootcamps - search what's running near you.
Free for eligible adults in England
- Skills Bootcamps - what they are and who can do them (DfE, Skills for Careers)
- Skills Bootcamps - JobHelp (DWP)
In Scotland:
My World of Work (Skills Development Scotland)
In Scotland it's My World of Work, from Skills Development Scotland.
Free, publicly funded
- Skills Development Scotland
In Wales:
Careers Wales
In Wales it's Careers Wales.
Free, Welsh Government-funded
In Northern Ireland:
Careers Service Northern Ireland
In Northern Ireland it's the Careers Service on nidirect.
Free, Department for the Economy-funded

No Space for this job, but one for what is happening to it

Nothing Collab365 runs is built for artists, and we are not going to point you at the nearest one and call it a fit.

There is one that is not about a job title at all. The AI Authority is about being the person who directs these tools at work rather than the person they get compared to. That is worth saying here, because 21% of the work on this page is already inside what they can do.

Try The AI Authority free →

7 days free, no card needed. Explore up to 2 Spaces before you choose a plan: you pick a plan later, not now.

The AI Authority is a general community about working with AI, not a course for artists. You do not need it to act on anything here: the moves above cost nothing and stand on their own. The data on this page is the same either way.

Noted, and thank you. We’ll email you if a Space for artists launches. Nothing else.

That did not look like an email address, so nothing was saved. Have another go below.

We could not save that. The fault is ours, not yours, and your address was not stored. Please try again later.

No Space for artists yet. Should there be one?

Collab365 Spaces is built by the same people as this site. We find the problems that AI and automation are creating inside one kind of work, then solve them as short courses, briefings and Blueprints. Each Space is the community too, so the research and the people doing your job are in the same place.

What a Space actually is, in full

Collab365 launches new communities where the need is real. If one for artists existed, with researched problems, courses and people in the same boat, would you want in?

Your email

We use your email address for one thing: to tell you if a Space for artists launches. We never sell it, never use it for unrelated marketing, and every email has a one-click unsubscribe. Our privacy policy has the full version.

This unlocks nothing. Every figure, every row and every step on this page is already yours, whether you fill this in or not.

No deadline on any of this. The page will still be here, and the data is refreshed on a published schedule rather than when someone wants a headline.

Questions people ask about this job

Will AI replace Artists?: Not as a job, but it is already doing parts of the work. Across the 149 official task statements scored for Artists (United Kingdom, SOC 3411), 21% of the importance-weighted core work is made of tasks today's AI could already do most of. The overall exposure score is 37 out of 100 (range 32–43, band: low). That is a statement about tasks, not about headcount: this measures what AI could do, not whether any employer adopts it, whether the law allows it, or whether doing the routine parts faster creates more demand for the human parts. Figures are from release 2026-q4.1.
Which tasks in “Artists” can AI already do?: The highest-scoring tasks in release 2026-q4.1 are: “Adapt existing artwork to alternative layouts and formats” (93/100, very high); “Create web assets to size and scale” (93/100, very high); “Update and manage a digital portfolio, including website content, to showcase professional work” (93/100, very high). Each score comes from five published 0–4 ratings turned into a number by a published formula, and each carries the model's one-sentence reason on the page.
Which tasks in “Artists” stay human?: About 54% of this job's task weight sits in work that scores low for AI exposure. The lowest-scoring tasks in release 2026-q4.1 are: “Transfer the chosen design onto the customer's skin, using freehand drawing or transfer techniques” (0/100, minimal); “Follow strict hygiene procedures to ensure client safety and cleanliness” (0/100, minimal); “Follow the design lines with an electrically-operated needle to inject ink under the skin” (0/100, minimal). Low scores usually mean the task needs a body in a room, a legally accountable human, or trust built in real time. Those are the three things the scoring rubric treats as gates rather than obstacles.
What should someone working in “Artists” do about AI?: Start from the ledger rather than the headline: 21% of this job's weighted core work is exposed, and roughly 54% is not. The practical move is to spend more of your week on the tasks that score low, the ones above, and to get fluent at directing AI through the tasks that score high, because those are the parts that change whether or not you are ready for them. This page does not predict your job, and nothing here is career advice tailored to you: the score describes the occupation, not the person.
How is the AI exposure score for Artists calculated?: Each official task statement for the occupation is rated on five published 0–4 dimensions (output replicability, physical embodiment, licensed accountability, real-time human trust, and data availability) by claude-opus-5 using scoring prompt task_scoring_v1.0. The model never writes the score; a published formula turns the five ratings into a 0–100 number, so every score can be recomputed by hand. The occupation figure is the importance-weighted mean across 149 scored tasks. The prompt, the rubric, the formula and the full dataset are published at https://futureproof.collab365.com/method and https://futureproof.collab365.com/data/2026-q4.1 under CC BY 4.0.

Where these numbers come from

About the data on this page

Provisional, because the ONS revises this figure in the autumn.
This headcount comes from a survey, not a census, so treat it as a good estimate rather than an exact count.
The match between this job and its counterpart in the other country is partial, so the two pages count slightly different groups of people.
43 of this occupation's scored task statements carry a score that was measured under a different occupation's context, because the statement is shared between jobs and has only been scored once so far. Each one names the occupation it was measured under in the free routes below; none is presented as a measurement for this job.
Task clusters are not derived in this release, so the task-cluster field is empty and no Collab365 Space routing is attached to this occupation yet.

Task statements: gaisi-indexProcessing: catalogue-bridge → ssc-relatedness-weighting → task-scoring → score-aggregation
Task weights: gaisi-index (relatedness)
Scores: Rubric task_scoring_v1.0, model claude-opus-5, computed 2026-08-05.
Pay and employment: ashe-t14 (ASHE 2025 provisional (reference April 2025))nomis-aps (Apr 2025-Mar 2026 (latest APS 12-month period))

Figures on this page come from release 2026-q4.1, published 2026-08-05. Every release keeps its own permanent address, so a figure you cite in March is still there, unchanged, in November.

The plain-English wording on this page is assembled directly from the task statements and the published ratings, not written by hand for this occupation. That is why it is specific, and it is also why we say so.

The routes and free resources further up are today’s, not the release’s (last reviewed 2026-08-05). A route is an offer, not a historical fact, so it moves on its own clock.

How we score a job Download this release Look up another job

Using these figures?

Cite this

Everything on this site is published under CC BY 4.0. Quote it, chart it, sell something built on it. Just say where it came from, and cite the dated release rather than the site, so the figure you quote stays checkable.

Plain text

Collab365 (2026). Collab365 Futureproof: task-level AI exposure for US and UK occupations, release 2026-q4.1 (methodVersion 2.0.0, promptVersion task_scoring_v1.0). https://futureproof.collab365.com/data/2026-q4.1. Licensed CC BY 4.0. Built with O*NET data (USDOL/ETA, CC BY 4.0); ONS data (Open Government Licence v3.0); GAISI task framework (arXiv:2507.22748, MIT); BLS data (public domain).

BibTeX

@misc{collab365futureproof2026q41,
  title        = {Collab365 Futureproof: task-level AI exposure for US and UK occupations, release 2026-q4.1},
  author       = {{Collab365}},
  year         = {2026},
  url          = {https://futureproof.collab365.com/data/2026-q4.1},
  note         = {Release 2026-q4.1, methodVersion 2.0.0, promptVersion task_scoring_v1.0, CC BY 4.0}
}

Permalink

https://futureproof.collab365.com/data/2026-q4.1

Data as of release 2026-q4.1, published 2026-08-05. Releases never change after publication; when the figures move, a new dated release is published beside this one and this one stays exactly where it is.