The history of African-American repression in this country rose from government-sanctioned racism. Jim Crow laws were a product of bigoted state and local governments.
I think when we think about the judgment of someone who might want World War III, we might think about someone who might shut down a bridge because they don’t like their friends;.
Al Qaeda has been placed on the run, but not destroyed.
Is Donald Trump a serious candidate? The reason I ask this is, if you’re going to close the Internet, realize, America, what that entails. That entails getting rid of the First amendment, ok? It’s no small feat.
Design is everything. Everything!
Design can be art. Design can be aesthetics. Design is so simple, that’s why it is so complicated.
Design is a way of life, a point of view. It involves the whole complex of visual communications: talent, creative ability, manual skill, and technical knowledge. Aesthetics and economics, technology and psychology are intrinsically related to the process.
Simplicity is not the goal. It is the by-product of a good idea and modest expectations.
Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that’s why it is so complicated.
Pictures, abstract symbols, materials, and colors are among the ingredients with which a designer or engineer works. To design is to discover relationships and to make arrangements and rearrangements among these ingredients.
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.
Art is an idea that has found its perfect visual expression. And design is the vehicle by which this expression is made possible. Art is a noun, and design is a noun and also a verb. Art is a product and design is a process. Design is the foundation of all the arts.
Any system that sees aesthetics as irrelevant, that separates the artist from his product, that fragments the work of the individual, or creates by committee, or makes mincemeat of the creative process will, in the long run, diminish not only the product but the maker as well.
You will learn most things by looking, but reading gives understanding. Reading will make you free.
So that is the design process or the creative process. Start with a problem, forget the problem, the problem reveals itself or the solution reveals itself and then you reevaulate it. This is what you are doing all the time.
The public is more familiar with bad design than good design. It is, in effect, conditioned to prefer bad design, because that is what it lives with. The new becomes threatening, the old reassuring.
The reason I always insisted on signing my work was not to be subordinate to anyone.
If I was influenced by anything, it was architecture: structure having to do with logic. If you don’t do it right, the whole thing is going to cave in. In a certain sense, you can carry that to graphic design. Fortunately, however, nobody is going to die if you do it wrong.
Artistic tricks divert from the effect that an artist endeavors to produce, and even excellent elements such as bullets, arrows, brackets, ornate initials, are at best superficial ornamentation unless logically employed.
Asymmetric balance creates greater reader interest. Pleasure derived from observing asymmetrical arrangements lies partly in overcoming resistances, which, consciously or not, the spectator adjusts in his own mind.
Graphic design, which evokes the symmetria of Vituvius, the dynamic symmetry of Hambidge, the asymmetry of Mondrian; which is a good gestalt, generated by intuition or by computer, by invention or by a system of coordinates, is not good design if it does not communicate.