Quotes About Design

Content precedes design. Design in the absence of content is not design, it's decoration.

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The tragedy of feminine design is that it receives so little official support. Most of the world's design schools, having been organized by men, encourage a masculine approach, even when they are run by women. Yet many designers who are male in the biological sense have a feminine approach to design.

Design can be both a manifestation of a company's design ethic and an outward communication of a company's design ethic and drive for excellence.

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

Once evolution gets a good basic design, it tends to throw away the variants and concentrate on the near-infinite diversity within that design.

Something I always wanted to do, to capture that later half of the '70s. It's like the early half of the '70s is still the '60s, in that there's still kind of a playfulness and inventiveness in terms of design and the things that were going on in the culture. The second half, it got much more commodified. It's possibly the ugliest era of architecture and clothes and design in the entire 20th century, from 1975 to '81 or '82.

The first thing to say about Eve is that she was a big improvement on the Adam design, or that Adam was an extremely misguided variation on the Eve design. (Consider testicles. Two concentrated nuclei of absolute vulnerability. Where? Dangling between the legs. I rest my case.)

The thing that's important is not something called design; it's how you live, its life itself. Design really comes from that. You cannot separate what you do from your life.

To the optimist, the glass is half full. To the pessimist, the glass is half empty. To the engineer, the glass is twice as big as it needs to be. Design is how you treat your customers. If you treat them well from an environmental, emotional, and aesthetic standpoint, you're probably doing good design.

When you as a designer design something that burdens a community with maintenance and old world technology, basically failed developed world technology then you will crush that community way beyond bad design; you'll destroy the economics of that community and often the community socially is broken.

Steve [Jobs'] brilliance is his ability to see something and then understand it and then figure out how to put it into the context of his design methodology - everything is design.

Clutter is not an attribute of information, clutter is a failure of design...fix the design rather than stripping all the detail out of the map.

Everything God does has purpose and intention behind that design. It is a master design, and every little thing has its proper place and function.

The difference between good design and great design is INTELLIGENCE

For thirty years most interface design, and most comptuer design, has been headed down the path of the "dramatic" machine. Its highest idea is to make a computer so exciting, so wonderful, so interesting, that we never want to be without it. A less-traveled path I call the "invisible"; its highest idea is to make a computer so imbedded, so fitting, so natural, that we use it without even thinking about it.

Let an ultraintelligent machine be defined as a machine that can far surpass all the intellectual activities of any man however clever. Since the design of machines is one of these intellectual activities, an ultraintelligent machine could design even better machines; there would then unquestionably be an 'intelligence explosion,' and the intelligence of man would be left far behind. Thus the first ultraintelligent machine is the last invention that man need ever make.

It has long been my personal view that the separation of practical and theoretical work is artificial and injurious. Much of the practical work done in computing, both in software and in hardware design, is unsound and clumsy because the people who do it have not any clear understanding of the fundamental design principles of their work. Most of the abstract mathematical and theoretical work is sterile because it has no point of contact with real computing.

The best everyday example of relativity, the finest symptom of human intelligence, is humor. (...) Design without humor is not human. The word 'beautiful' does not mean anything. Only coherence counts. An object, design or not, is primarily an object that meets the parameters of human intelligence, which reconciles opposites. The lack of humor is the definition of vulgarity.

I always love design but the more I designed for clients, the less I liked the process of designing for them. I do lettering and illustration for money, which clients don't mess with too much and web design for fun.

Kanye is always here in my factory. In the last three years, he has come here maybe every month and worked with the employees 10 to 12 hours a day. [Kanye] loves learning about shoes, both the design and construction, and we’ve tried to design something together. In a couple of months, he could have his own special collection out.

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.

It isn't a question of enhancement through design. Whether an editor realizes it or not, design is part of what he does every time he prints the paper.

Design is a form of competitive advantage. People tend to think of design as good art, good visual language, which it absolutely has to be. But it's also about the ability to do systems thinking.

I think taking design out of the studio and really having a relationship with the people that you're making it for really convinced me of how powerful a thing design is. It's not just an aesthetic decoration.

I love graphic design. I love working with design, and I love storytelling, so I've been working on a children's book for a while, and I'd like to see that through.

In the past few months I've become religious, I've started to believe in god, creationism and intelligent design, and the reason that I now believe in god and creationism and intelligent design is because of Professor Richard Dawkins. Because when I look at something as complex and intricate and beautiful as Professor Richard Dawkins, I don't think that just could've evolved by chance! Professor Richard Dawkins was put there by god to test us, like fossils. And facts.

The design of the gum is expressed in the flow of it trunk and limbs, and the design of the European tree mainly in its foliage. In Europe great masses of foliage first attract the eye, here the limbs and trunk, which, on account of their proportion and colour, make themselves felt first, and one thinks of the foliage as a secondary matter.

How good the design is doesn't matter near as much as whether the design is getting better or worse. If it is getting better, day by day, I can live with it forever. If it is getting worse, I will die.

Jack Geisinger. He passed, but we were friends up until the end. We took a dress design and apparel class, and I realized that I didn't like it, mostly because I couldn't sew very well. I then change over to textile design, where I could draw and paint. It was perfect for me. I got to the height of my career as a textile designer. I was working with people like Donna Karan, Jean Muir, and Scott Barrie.

There's more to be learned here [St. Andrews] about course design than anywhere. Collection bunkers, false fronts, bump shots. The fundamentals of design became fundamental because of what's here. And it happened accidentally. Or maybe accidentally on purpose.

Precisely because intelligent design does not turn the study of biological origins into a Bible-science controversy, intelligent design is a position around which Christians of all stripes can unite.

The goal of design is to raise the expectation of what design can be

The two teachers that I had in the Art Institute who affected me the most were Kathleen Blackshear and Robert von Neumann; Kathleen Blackshear because she taught a class called design - I can't remember, design something, and in this class - it met once a week - we would do work centered around some theme, word or subject or technique or whatever, and bring it in for a three-hour discussion. And Kathleen was able, in watching and looking at our work, to direct us to all kinds of things which might relate to what we were trying to do, but she never attempted to tell us what to do.

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.

Museums are important. Design and art schools are important because they show how it should be done at the highest level of quality. Once people are exposed to quality, they recognize it right away and they appreciate it. People's tastes are changed by exposure to quality. Unless they can see it they can't want it. That's the brilliance of Apple - they provide quality in design.

While a case can be made for intelligent design, I can't figure out why some Christians are so thrilled about that possibility. First of all, it doesn't prove there's a God. If anything, intelligent design lends support to some form of pantheism that defines God as immanent within nature.

Because we [people] have an intellect, part of what we do is try to understand the "intelligent design." Everything we don't know is "intelligent design." Everything we do know is science.

I like the fact that I like to think out-of-the-box. Thinking out-of-the-box goes along with dressing out-of-the-box and living out-of-the-box. If you want to come up with a really original design idea and you want to capture a whole new design direction, perhaps the best way to arrive at that is not by acting and thinking and doing like everybody else. That's all.

Not a step can we take in any direction without perceiving the most extraordinary traces of design; and the skill everywhere conspicuous is calculated in so vast a proportion of instances to promote the happiness of living creatures, and especially of ourselves, that we feel no hesitation in concluding that, if we knew the whole scheme of Providence, every part would appear to be in harmony with a plan of absolute benevolence.

If your result needs a statistician then you should design a better experiment.

I design for myself and the first question I ask is, 'Would I wear it?'

In design it is important to shoe the effect of an action. ... Feedback is critical.

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.

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

That's just tragic, that you can spend four years of your life studying the design of three dimensional objects and not make one.

User experience is everything. It always has been, but it's undervalued and underinvested in. If you don't know user-centered design, study it. Hire people who know it. Obsess over it. Live and breathe it. Get your whole company on board.

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.