Quotes About Design

Before you begin designing or buying anything, you need to get real and ask yourself: What do you really want to use this room for? What do you want to do in this room but can't now?

I am not interested in shock tactics. I just want to make beautiful clothes.

My job the same as carpenter. What kind of house you want to build? What kind of food you want to make? You think your ingredients, your structure. Simple.

People want to see things that are visually beautiful.

All metallics are neutrals. So it is absolutely fine to mix gold and silver; you just want it to look like it has purpose.

The designer side of me has many ideas on how the shoes or woman should look, but the man is thinking 'would I want to see my girl in those shoes?'

I want a woman to feel the cut of the scissors in the clothes.

I have always wanted to branch off and become a fashion guru. I want to share my artistic views with the world.

I labor, I spend, I strive, I design, I love, I cling, I uphold, I give way, I envy, I long, I scorn, I die, I hide, I want. Faster, much faster than any man could make the tally.

I don't think you make fans happy by just replicating frames. What they want to see is that you stayed true to the story, true to the characters and true to the design.

I think anyone who makes products has this simultaneous joy and, almost, shame looking at it. You look at it all day and all you can see is all these things you want to make better.

Clients usually come to me when they want to update the look of an existing room.

I've been thinking about where I want to take my live show. I want everything in it to be pink, gold, and black. I don't want people to feel any other colors, like brown or yellow.

I'm trying just to do good clothes, clothes that you need as much as you want.

I think I have a very clear vision of what I want things to look like.

I'm interested in the structure of art and how it works. And the content is also interesting, but I don't want to keep the same structure and just plug in new content every week.

You have to write scenes and design scenes that are scary and horrific, but that are also watchable. I didn't want people to just feel like they got punched in the stomach.

Most of our cities built since the war are bland. They're modernist, they're cold, and now architects want to go back to that.

I don't micromanage the interiors. People ask me to and I say no. I don't want to control everything.

The pot-thrower in the hut behind the shop, hands and forearms slick with clay, dreaming, yes, of the years in which a life took shape, when each press of a fingertip sent a deep track across a once smooth surface, changing the future, reshaping the past, and was this not as much chance as design? For all that intent could score a path, that the ripples sent up and down and outward could be surmised by decades of experience, was the outcome ever truly predictable?

Typefaces are to the written word what different dialects are to different languages.

I believe that design must be integrally wedded to editorial content. Some people read images, others read words, but most of us read both. So the overall design, art, photography, text, and sometimes even the typography should be, in the best of cases, considered "content." Hence the art director's content must complement the editor's content.

However, [Edmund G. Gress] wrote, " we must not simplify to such an extent that life and movement are gone. That is where those persons go wrong who claim that type was made to read, and nothing else matters but the setting up of a paragraph in a legible type so that it can be easily read. We do not read everything that appears in print, but do read that which appears interesting.

INTOLERANCE (1916) Griffith's design for this film is to juxtapose fours stories from different periods of history that illustrate 'Love's struggle throughout the ages'.