Quotes About Design

Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that's why it is so complicated.

The question is: exactly how did life get here? Was it by natural selection and random mutation or was it by something else? Everybody - even Richard Dawkins - sees design in biology. You see this design when you see co-ordinated parts coming together to perform a function - like in a hand. And so it's the appearance of design that everybody's trying to explain. So that if Darwin's theory doesn't explain it we're left with no other explanation than maybe it really was designed. That's essentially the design argument.

Certain kinds of typeface design and typographic design are designed to persuade: we can make this company look modern if we use a crisp sans serif typeface, or we can make this restaurant look like its been around forever if we use typefaces and layout styles that have been around forever too. But there are other categories, and ballot design is one of them, where the goal should be to be purely functional. There have been notable failures in this category.

If there is a well thought-out design standard, it should be followed. In practice, great design comes from great designers. That is empirically the case. If a great designer did a first-rate standard, that model should be followed. Great design is not democratic; it comes from great designers. If the standard is lousy, then develop another standard.

I am a design chauvinist. I believe that good design is magical and not to be lightly tinkered with. The difference between a great design and a lousy one is in the meshing of the thousand details that either fit or don't, and the spirit of the passionate intellect that has tied them together, or tried. That's why programming - or buying software - on the basis of "lists of features" is a doomed and misguided effort. The features can be thrown together, as in a garbage can, or carefully laid together and interwoven in elegant unification, as in APL, or the Forth language, or the game of chess.

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

Design and color are not distinct and separate. As one paints, one draws. The more the colors harmonize, the more the design takes form. When color is at it's richest, form is at its fullest.

I don't have formal training at all, but I did grow up around design. My parents both flipped homes. A typical weekend for us was walking through model home units. I loved walking through interesting floor plans and seeing different design aesthetics.

Meta-design is much more difficult than design; it's easier to draw something than to explain how to draw it.

I'm also interested in pets with alopecia. And design. I'm surprised I haven't gone through with a homeware brand. The bedding, the comforters, the candles, the this and that. I would like to design everything.

Design is not just what it looks like and feels like. Design is how it works.

Science may explain the world, but we still have to explain science. The laws which enable the universe to come into being spontaneously seem themselves to be the product of exceedingly ingenious design. If physics is the product of design, the universe must have a purpose, and the evidence of modern physics suggests strongly to me that the purpose includes us

I think that you could design a terrible logo for a good company with great people and they could build it into a great program. Alternatively you could design what seems to be a brilliant logo for people who are not smart or energetic or are incapable of associating with anything positive and it would become a terrible logo.

The science of design, or of line-drawing, if you like to use this term, is the source and very essence of painting, sculpture, architecture... Sometimes... it seems to me that... all the works of the human brain and hand are either design itself or a branch of that art.

Rather, the master question from which the mission of education research is derived: What should be taught to whom, and with what pedagogical object in mind? That master question is threefold: what, to whom, and how? Education research, under such a dispensation, becomes an adjunct of educational planning and design. It becomes design research in the sense that it explores possible ways in which educational objectives can be formulated and carried out in the light of cultural objectives and values in the broad.

Constrained optimization is the art of compromise between conflicting objectives. This is what design is all about. To find fault with biological design - as Stephen Jay Gould regularly does - because it misses some idealized optimum is therefore gratuitous. Not knowing the objectives of the designer, Gould is in no position to say whether the designer has proposed a faulty compromise among those objectives.

The argument from design is ultimately an appeal to miraculous causes, i.e., causes that do not, and cannot, occur in the natural course of events. This is why an explanation via design is not a legitimate alternative to scientific and other naturalistic modes of explanation. To refer to a miraculous cause is to refer to something that is inherently unknowable, and this sanctuary of ignorance explains nothing at all. However much it may soothe the imagination of the ignorant, it does nothing to satisfy the understanding of a rational person.

When I'm teaching, I tell the story of this painting for two reasons. First of all, if you want a good solid color structure, you have to have a solid development in values, dark and light. Second, if you have a good design, don't leave it if you fail to render it to its full extent the first time around. Remember it's the design that's important. Try and try till you get the thing to work. That's why The Pattern Makers is a key picture in my painting career.

Building places that are worth living in and worth caring about require a certain attention to detail, and of a particular kind of detail that we have forgotten how to design and assemble. And that involves the relationship of the buildings to each other, the relationship of the buildings to the public space, which in America, comes mostly in the form of the street. Because it's only the exceptional places in America that have the village square or the New England green. You know. The street is mostly the public realm of America. And we have to design these things so that they reward us.

I love to accent movement. The eye goes to where the white is - you know, the glove. And the feet, if you're dancing, you can put an exclamation point on your movement if it has a bit of light on it. So I wore the white socks. And for the design of the jacket, I would sit with the people who made the clothes and tell them where I wanted a button or a buckle or a design.

Problems with visual design can turn users off so quickly that they never discover all the smart choices you made with navigation or interaction design.

To go back to architecture, whats organic about architecture as a field, unlike product design, is this whole issue of holism and of monumentality is really our realm. Like, we have to design things which are coherent as a single object, but also break down into small rooms and have an identity of both the big scale and the small scale.

Urban design is where the number are and easy size of installation plus the fast lessons to extend out to larger design acreage.

If any man whatsoever hath carried on the design of deposing the King and disinheriting his posterity; or if any man hath yet such a design he should be the greatest traitor and rebel in the world; but, since the Providence of God hath cast this upon us, I cannot but submit to Providence.

I started to begin to be interested in architecture and design when I was 14 years old, which was pretty early in life. And then I would start to look at architectural magazines and I eventually went to the school of architecture too, but one of the things I learned very early is that an architect should be able to design anything from a spoon to the city.

For centuries the most powerful argument for God's existence from the physical world was the so-called argument from design: Living things are so beautiful and elegant and so apparently purposeful, they could only have been made by an intelligent designer. But [Charles] Darwin provided a simpler explanation. His way is a gradual, incremental improvement starting from very simple beginnings and working up step by tiny incremental step to more complexity, more elegance, more adaptive perfection.

A lot of what we are doing is getting design out of the way.

I attended the Columbus College Of Art & Design for a little while, until I realized they didn't take cartooning very seriously.

One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.

Design is where science and art break even.

I have been called an eco-designer simply because I use wood. But I am not an eco-designer, nor does the use of wood make me one. I am a designer who cares about the effect of what I do, and about making good things for people to keep and cherish - that, surely, is simply the basic condition for 'good design'?

I design like I breathe. You don't ask to breathe. It just happens

I think there is an elegance and balance to design in nature that is the starting point for creating something of beauty. But I would hate the idea of being defined by anything other than my own aesthetic.

The design and creative side is not a problem, but learning how to run a company as a young creative has been challenging. There is so much more on the business side than I ever considered when I first started making jewelry in my kitchen. It has been a challenge keeping up with the company's success, and I have had to learn from my and others' mistakes as I go.

Nearly all inventions are not recognised for their positive side either when they're made. So, for example, scientists didn't go out to design a CD machine: they designed a laser. But we got all sorts of things from a laser which we never remotely imagined, and we're still finding things for a laser to do.

The poor are always prophetic. As true prophets always point out, they reveal God's design. That is why we should take time to listen to them. And that means staying near them, because they speak quietly and infrequently; they are afraid to speak out, they lack confidence in themselves because they have been broken and oppressed. But if we listen to them, they will bring us back to the essential.

My mother worked in fashion design and she used to show me all of these looks. She tried to get me to wear fitted jeans in high school. This is when big jeans were popping.

Never far from a dining table, the characters in Heather A. Slomski's limpid and elegant debut collection are not given to melodramatics. Civility reigns, voices are not raised, much goes unsaid. But just beneath the sophisticated composure are longing, loss, heartbreak. And how intensely familiar is the table itself, which made this reader suddenly understand how much of our real life takes place there. Heather A. Slomski is truly a fresh voice on the scene, and The Lovers Set Down Their Spoons is that rare thing, a new book as innovative in its design as it is compulsively readable.

First we pre-visualized it [the flying fish scene in 'Life of Pi'] so the actors could act. It took a long time to get that to come to life and to design those coming out of the screen. We had great fun with that. It takes a long time, a year maybe.

When we invest in the things that matter most to us, that are within God's unique design for each of us, I believe we will achieve a sense of balance in our lives.

Many new churches, I regret to say, can be described from the design point of view only as holy terrors.

Design and programming are human activities; forget that and all is lost.

When I have to critique someone else's web design, rather than write up a giant email or take a screengrab and move stuff around in Photoshop, I put together a really quick CSS doc making my changes.

If there is no destiny, there is no design. There's only life and death. My goal is to learn about life by living it, not by trying to figure out a cryptic plan that the Creator had in store for me.

Kiddies, Graphic Design, if you wield it effectively, is Power. Power to transmit ideas that change everything. Power that can destroy an entire race or save a nation from despair. In this century, Germany chose to do the former with the swastika, and America opted for the latter with Mickey Mouse and Superman.

You wish to be great, begin from the least. You are thinking to construct some mighty fabric in height; first think of the foundation of humility. And how great soever a mass of building one may wish and design to place above it, the greater the building is to be, the deeper does he dig his foundation.

God's creative design was that your ravenous appetite for pleasure find fulfillment in Him, for nothing more wonderfully reveals His glory than the joy the creature has in its Creator.

Right and wrong do not exist in graphic design. There is only effective and non-effective communication.