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.

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.

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.

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.

I never did calligraphy... But handwriting is an entirely different kind of thing. It's part of the syndrome of modernism... It's part of that asceticism.

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.

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.