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.

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.

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.

Design can be art. Design can be aesthetics. Design is so simple, that's why it is so complicated.

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.

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.

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.