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.

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

Design is everything. Everything!

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.

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 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.

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.