Quotes of All Topics . Occasions . Authors
There's a certain kind of research you have to listen to - the factual stuff, not opinion. Facts are facts. Sugar is sweet - it's not a matter of opinion. It just is.
Providing, meaning to a mass of unrelated needs, ideas, words and pictures - it is the designer's job to select and fit this material together and make it interesting.
3 requirements for a good designer: 1. genuine knowledge and love of great design. 2. sound knowledge of principles and techniques of communication. 3. heart (passion).
Dishonesty in trailers is more than a moral issue, it's a practical one. If you don't deliver in the film what you offered in the trailer, you'll get bad word-of-mouth.
I was teaching, which I didn't love or hate; it was just OK. I was OK with it, and the hours were good for surfing or whatever. All not good reasons to go into teaching.
I find that I'm at my least creative point when I am doing something that I've done in repetition and I know all the rules - I never break the rules because I know them.
As a genre, videogames take our minds on journeys, and we can control and experience them much more interactively than passively - especially when they are well-designed.
Whether or not you believe in God, you can probably sign on to the idea that being kind to others is divine. Just remember to include yourself in that circle of kindness.
Failure is built into creativity... the creative act involves this element of 'newness' and 'experimentalism,' then one must expect and accept the possibility of failure.
When I first redesigned the 'Surfer' magazine, a magazine about magazines took a copy to the famous American designer Milton Glaser, and - surprise surprise - he hated it.
I don't think there is a particular responsibility on designers that is not on other professions... I think there's a responsibility for all of us to engage on all levels.
Without the aesthetic, the computer is but a mindless speed machine, producing effects without substance, form without relevant content, or content without meaningful form.
You can build an ordinary hot dog stand or you can build a spectacular one, and you can do it sometimes without that much difference in money - if somebody thinks about it.
And with it all, good design's not about what medium you're working in, it's about thinking hard about what you want to do and what you have to work with before you start.”
Dont confuse legibility with communication. Just because something is legible doesnt mean it communicates and, more importantly, doesnt mean it communicates the right thing.
My role is to find strategic insights as to where design can have the most business impact. A designer can bring a viewpoint of not just aesthetics, but economics and usage.
I actually don't think that brand new logos are worth that much or mean that much in and of themselves. So why not have a class of third graders compete to design your logo?
Australia seems to strike a balance between big and small. It's big enough to have that diversity, but not so big that it disintegrates into something that is not connected.
I have half a dozen designers who work for me, they 'realise' most of the design work, and I act as the design director and the main point of client contact on each project.
Some people are in stultifying environments where there are rigid rules and rituals and they need that to thrive, where other people are just asphyxiated by stuff like that.
Somewhere along the line a convention developed that the opening of a film was just a laundry list of credits. There was no incentive to complicate an area that was settled.
Be culturally literate, because if you don't have any understanding of the world you live in and the culture you live in, you're not going to express anything to anybody else.
Some people said, 'Oh you're going to become a fine artist now and do exhibits and stuff.' But I have no desire to do that. I really like design and I'm going to stay with it.
The creative life of the commercial photographer is like the life of a butterfly. Very seldom do we see a photographer who is really productive for more than eight or ten years.
You have to utilize who you are in your work. Nobody else can do that: nobody else can pull from your background, from your parents, your upbringing, your whole life experience.
If you look at the Olympic graphics for Mexico or Los Angeles, those programs don't look contemporary by today's eyes but they really look like they are of their place and time.
What makes me say "wow" is usually something I haven't encountered, in a new way... something I haven't encountered before or something I have encountered that I see in a new way.
I think that the notion of being creative is the notion that, inwardly, you assume that many things are possible. And that you can try these things and that something will happen.
I can see how some people get sentimental about how we used to do things in 'the good old days' but in a way I just think they are being nostalgic for the way they were brought up.
When I say that a good picture has surprise quality or shock appeal, I do not mean that it is a loud or vulgar picture but, instead, that it stimulates my thinking and intrigues me.
Good things are associated with blue, like clear days, more than singing the blues. Just the word 'blue' in the singular is full of optimism and positive connotation to most people.
Our economy is built upon convergent thinkers, people that execute things, get them done. But artists and designers are divergent thinkers: they expand the horizon of possibilities.
If most of what we see via the media is not live, it must be edited: sifted for value, interpreted and re-presented for our convenience. We live in a disco, and the DJ is in charge.
If you do good work for good clients, it will lead to other good work for other good clients. If you do bad work for bad clients, it will lead to other bad work for other bad clients.
People in the UK will say that the design community in the US is much more coherent than other countries. It has no government support at all, so it's really like a grass roots thing.
When a well-known creative person such as me is perceived to have created a knockoff of my own previous work, such a perception is a mortal blow to my reputation as a creative person.
I think it's ultimately inhuman to only see things for their functionality. We want things to be more than that. The desire for beauty is something that's in us, and it's not trivial.
I wish everyday could be Halloween. We could all wear masks all the time. Then we could walk around and get to know each other before we got to see what we looked like under the masks.
I am interested in imperfections, quirkiness, insanity, unpredictability. That's what we really pay attention to anyway. We don't talk about planes flying; we talk about them crashing.
Design always has a purpose, art has no purpose. That's really the difference between them. Do I think one is better than the other? Absolutely not. I think they both fulfill functions.
I like photography because it is a reality medium, unlike drawing which is unreal. I like to mess with reality...to bend reality. Some of my works beg the question of is it real or not?
Planning is design. As a designer what I tend to do, and what's different from being a painter, is that I interact with other people, and the people have things they need to have happen.
I plan to write more songs of my own, especially on behalf of the animals we needlessly raise for food, at their great expense, and at great expense to our precious, deteriorating planet.
Let's face it: we live at a time when government is less and less powerful, less and less effective, and the agent of social change, at least for the immediate future, is the corporation.
Typography is a hidden tool of manipulation within society. All schools should be teaching typography; we should be fundamentally aware of how typographic language is forming out assholes.
I get to work on things I've never done before and I get better at it, and I can do things that are innovative. Which I've done in my fifties, and want to continue to do through my sixties.
It is every photographer's responsibility to discover new images and a new personal way of looking at things. If he can do this his pictures will command attention and have surprise quality.
There are always going to be jerks in the world . . . [but] there are more good people on this earth than bad people, and the good people watch out for each other and take care of each other.
When I work as an art director, I don't ask to see sketches from illustrators or photographers. I give them a basic idea, and then I say, 'Send it to me, it'll be fine' - I get out of the way.
Somewhere down the line, I felt the need to come to grips with the realistic - or live action - image which seemed to me central to the notion of film. And then a whole new world opened to me.