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.

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.

Simplicity is not the goal. It is the by-product of a good idea and modest expectations.

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 is everything. Everything!

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.