Design Quotes
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It is difficult to separate oneself from one's design moralities.
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Before 2000, we were unable to design a single car; all the cars were designed in Japan, Europe or somewhere else. We were just converting.
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When I was very, very young, seven years old, I heard there was school where you could go to learn to draw. That was my absolute driven passion, to become an artist or a painter. So the romantic realist in me, I studied to be a graphic design artist and an art teacher.
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I remember someone once said there is a practical aspect to my designs, and I remember thinking, 'That doesn't sound so creative,' but that is actually the truth. There is a practicality to it. I don't design just to design. There is a reason and, hopefully, an interesting reason behind it - that is where my creativity comes in.
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At a certain moment the canvas began to appear to one American painter after another as an arena in which to act-rather than as a space in which to reproduce, re-design, analyze or express an object, actual or imagined. What was to go on the canvas was not a picture but an event.
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If we want users to like our software, we should design it to behave like a likeable person.
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Minted.com is both a global design community and stationery retailer. Independent graphic designers from all over the world submit designs to our ongoing design competitions, and Minted's community votes to tell us what to sell.
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Architects design houses. I live in a home.
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We must look for ways to be an active force in our own lives. We must take charge of our own destinies, design a life of substance and truly begin to live our dreams.
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By coincidence and not design, 'Everstar' is written and drawn by an all-female creative team, and it makes me smile to think that there may be young female readers out there, future writers and artists, who get to see that comics doesn't have to be a 'boys' club.'
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Design is Law
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Throughout the country, I see the same design problems and solutions over and over.
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Obviously a garden is not the wilderness but an assembly of shapes, most of them living, that owes some share of its composition, it’s appearance, to human design and effort, human conventions and convenience, and the human pursuit of that elusive, indefinable harmony that we call beauty. It has a life of its own, an intricate, willful, secret life, as any gardener knows. It is only the humans in it who think of it as a garden. But a garden is a relationship, which is one of the countless reasons why it is never finished.
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When I come to a design decision, people know that is that.
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I didn't want to be an actor. I wanted to design historical movies like 'Ben-Hur'. I saw this as my life.
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When I design buildings, I think of the overall composition, much as the parts of a body would fit together. On top of that, I think about how people will approach the building and experience that space.
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There has to be the popcorn genre element, or I don't engage the same way. I like action and vehicle design and guns and computer graphics as much as I like allegory. It's a constant balancing game. I want audiences to be on this rollercoaster that fits the Hollywood mould, but I also want them to absorb my observations.
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The real opportunity is to harness the inventive power of the world to locally design and produce solutions to local problems.
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Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.
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Design needs a new relationship with the world, one that is more focused on our planet's needs.
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I began doing writing projects and art and design projects to explore a new way of seeing Canada. Roots is one more way of continuing this exploration. I want to present a wide-open Canadian sense of color, adventure, communication and openness that defines our country.
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With couture, you feel obligated to design something modern each season, but with Theyskens Theory, I don't question anything. I'm thinking of what I'd like to wear.
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I truly believe that we're about to enter a second golden age of design. The first one was in the '50s and '60s, when designers like Raymond Loewy, Charles Eames, George Nelson and Dieter Rams were shepherds of the brands they were working with. They had influence over the products and how companies communicated and promoted themselves.
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If I wanted to do clothes or if I wanted to make a building or design a choreography, you are able to do that - they are all under a similar kind of design umbrella.
