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.

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.

Everything is design. Everything!

Design is everything. Everything!

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.

The artist is a collector of things imaginary or real. He accumulates things with the same enthusiasm that a little boy stuffs his pockets. The scrap heap and the museum are embraced with equal curiosity. He takes snapshots, makes notes and records impressions on tablecloths or newspapers, on backs of envelopes or matchbooks. Why one thing and not another is part of the mystery, but he is omnivorous.

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.