Quotes About Design

People love to design and create things, whether clothing, creatures, buildings, cities, or planets. They also love to customize a basic template of some kind to reflect their own choices.

In designing your game's internal economy, you need to watch out for deadlocks, which can occur whenever there's a loop in the production process. To avoid deadlocks, either avoid such loops or provide an alternative source for one of the resources.

Designing the core mechanics consists of identifying the key entities and mechanics in the game and writing specifications to document the nature of the entities and the functioning of the mechanics. This is the very heart of the game designer's job, and the more complex the game, the longer it takes—

Don't confuse the term games of progression with other ideas about progression in games, such as leveling up, difficulty curves, skill trees, and so on. We use Juul's definition of the term: A game of progression is one that offers predesigned challenges, each of which often has exactly one solution, in a fixed (or only slightly variable) sequence.

Design Rule The Story Comes Later Do not spend a lot of time devising a story at the concept stage. This is a cardinal error frequently made by people who are more used to presentational media such as books and film. You must concentrate most of your efforts on the gameplay at this point. Types

Core Mechanics The core mechanics consist of the data and the algorithms that precisely define the game's rules and internal operations.

No weapons designer or engineer would build something with such an arbitrary weakness," he said. "The Disrupter is more like something a videogame developer would come up with, to create a big challenge at the end of a level—a boss that requires a huge sacrifice to destroy.

Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul.

The first and most important step in the process of becoming genuinely is to be once again authenticated by the original designer.

The difference in structure is of the same kind as that between an ordinary wallpaper in which the same pattern is repeated again and again in regular periodicity and a masterpiece of embroidery, say a Raphael tapestry, which shows no dull repetition, but an elaborate, coherent, meaningful design traced by the great master.

Nothing like an orange and olive green-striped couch sitting on orange carpet and surrounded by dark wood paneling to get the inspiration rolling.

Being non-commercial is never an ambition. Movies come together at different points for fortuitous reasons. You do them as you get the opportunity, as opposed to doing them when you choose to or design to.

Design certainly has a cosmetic, aesthetic aim. It always aims at making things beautiful. But relevance is just as important. I often say, 'If it isn't ethical, it can't be beautiful. But if it isn't beautiful, it probably shouldn't be at all.'

Of all the lessons most relevant to architecture today, Japanese flexibility is the greatest.

I happen to like selling clothes as much as creating them. It isn't relevant unless it sells.

I loved the idea of evolving traditional methods and design to make products that last but are also relevant for the modern age.

Being closed to outsiders made the iPhone reliable and predictable.

We can engineer a building and design a building with least reliance on active machinery to make it inhabitable.

Intelligent design is a modest position theologically and philosophically. It attributes the complexity and diversity of life to intelligence, but does not identify that intelligence with the God of any religious faith or philosophical system.

I've been reluctant in doing press stuff - even my Instagram isn't properly managed; I manage it myself. It's kind of by design. I knew that would be what people see first.

You have to accept as an architect to be exposed to criticism. Architecture should not rely on full harmony.

But I'm blessed to work with great people. I collaborate with brilliant stylists both here and in Paris. I work with a great design team. I really allow everyone to bring their ideas. I almost rely on them to inspire me.

Although I have lived in Manhattan since 1992, for the better part of two decades I have remained in blissful oblivion of all matters sportif.

Fashion remains closest to my heart. I get genuinely excited by my collections - I never wanted to be a businessman.