Quotes About Design

Architecture is about experience: not only visual but also what you can touch, what you can feel.

It is difficult to talk about fashion in the abstract, without a human body before my eyes, without drawings, without a choice of fabric - without a practical or visual reality.

For some reason I have a visual intuition that allows me to design things in an interesting way, and I don't know where that came from. Because I don't have this formal training, I seem to drift in a different direction.

I grew up in a very visual household. My dad is a designer; my sister is a designer. My brother is an amazing architect who does music. But I think in the Chung household, how things looked was an important part of who you are.

The visual aspect of a dish is so important; the shapes and colors and overall design have to strike the right mood and convey the right idea.

By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.

I think too many comic book covers are way too busy, crammed with far too much information, both visual and verbal, that just becomes a dull noise.

I was at art school that had quite a celebrated film course as well. I tried for that film course when I was 18, but they said I was too young. I tried this audio and visual design course instead. Two years later, I reapplied for that higher course, but they said I was still too young and to try in five years.

I've never really seen too much difference between writing or making visual art or designing furniture or clothing. It's still my brain - I'm just using different parts of it for different things.

I've always been involved in the visual aspect of my work, and moreover, it's very important in days where technology allows us to push the boundaries even more than when I started out.

I was a screenwriting and studio art major in college, so even though I don't have any training as a floral designer, I have a very particular visual aesthetic.

To be a carpenter or a builder or a home inspector, you have to have that kind of visual brain where you can sort of imagine something taken apart.

The world we live in is not purely visual. For me it's totally poly-sensorial so the tactile, sensual aspect of living in the work that I do is brought to the fore.

I'm a Mac user. I think it depends on how you were brought up, and I was introduced to Apple quite early. They're certainly the best for visual stuff and film-directing.

I studied graphic design originally. I used to like drawing, and I was quite into technical drawing. I was always interested in the visual medium, but I thought I was going to be an architect or something like that, but it's quite a lonely job.

I am not a visual innovator.

I do not have a history in set design. I have a history in art. I draw. But I learned set design when I couldn't afford to have a team and I didn't want to look like I was indie. I wanted to give fans the visual.

I'm inspired by visual stimulation.

Whether it be tour posters, album packaging, videos, stage design, etc., the visual aspect of music is very important to us.

A new 'look' for any organization cannot be a papier-mache cover, tacked on with Scotch tape under the heading of 'beautification.' It has to be based on a probing examination of the company and the people who work for it. As a result, the eventual external visual design becomes the graphic extension of the internal realities of a company.

I'm a visual person, and I love visual extremes and aesthetic discipline.

Mapping and visualization is a huge area of work and is of interest to many people. We're working on reinventing a new kind of 3D cartography to make it easier to tell stories with 3D maps.

You know it's my job to visualize, what is literal or audible, so I designed all the characters, and I designed what they do and how they should do it and so on.

The design process usually starts as a fantasy, with ideas that I dream of and visualize. These ideas become a reality by bringing various ingredients together, from the lifestyle of my bride, her age and sex appeal, to the textures of the finest fabrics and embroideries that we produce in my family factories in India.