Quotes About Form

You can eliminate color and still have a painting that works, but you must have drawing, value and design.

Form is never more than an extension of content.

Since the design of the movement is paramount, shape, for me, should have no significance.

Without design, there may be representation, but there can be no art.

I'm a minimalist when it comes to design.

The beauty of design ought to be totally incidental to the enterprise itself.

You cannot entirely control your subconscious mind, but you can voluntarily hand over to it any plan, desire, or purpose which you wish transformed into concrete form.

My desires sprang forth as a mighty sun - all embracing - associating in the form - vortex, to enjoy ALL consciousness

The artistic desire reveals itself in dark form - in karaoke bars [or] trolling on the Internet.

If it weren't for desire, the formless would not have come into form and engage creatively.

Reason has always existed, but not always in a reasonable form.

Except among those whose education has been in the minimalist style, it is understood that hasty moral judgments about the past are a form of injustice.

I need match practice of course, I need minutes in my legs to reach my best form.

Most of my game is not really based on explosiveness, but I've gotta have a little lift on my jumper.

Light is architectural. It is sculptural.

A luck shot is one of those guys who has no form.

There are loads of novels that I really love, like Haruki Murakami's books, and when I read them, I do think about how they would work as an anime. But I do believe that those are great books because they work best as novels, or great manga work best in that form.

Em primeiro lugar, leia sempre tudo cuidadosamente. A forma deve lhe dizer muito, quer seja pra auto-realização ou autodescoberta ou simples encantamento, ou um misto de ação e fala. Quando decidir isso, reveja tudo e defina que partes significam o que dizem e que partes são incluídas como quebra-cabeça. Você está chegando aos tipos mais poderosos.

Thinking about it now, I realize that the mark had more or less the form of a Q, but at the time, in the shock of this unexpected and painful act of revealment, it had no such clarity, and it disturbed me the way I would be disturbed by the appearance on a page of English of an unfamiliar symbol from a lost and unreadable language.

What is a nebulous mass, just out of idle curiosity? A possible growth in the body. And it's called nebulous because you can't get a clear picture of it. We get very clear pictures. The imaging block takes the clearest pictures humanly possible. It's called a nebulous mass because it has no definite shape, form, or limits. What can it do in terms of worst-case scenario contingencies? Cause a person to die. Speak English, for God's sake. I despise this modern jargon.

To men at this remove, it is as though things exist in their particular physical form in order to reveal the hidden simplicity of some powerful mathematical truth.

In the 1980s, in writing The Design of Everyday Things, I didn't take emotions into account. I addressed utility and usability, function and form, all in a logical, dispassionate way—even though I am infuriated by poorly designed objects. But now I've changed. Why? In part because of new scientific advances in our understanding of the brain and of how emotion and cognition are thoroughly intertwined.

Radical innovation is what many people seek, for it is the big, spectacular form of change. But most radical ideas fail, and even those that succeed can take decades and, as this chapter has already illustrated, they may take centuries to succeed.

The major areas of design relevant to this book are industrial design, interaction design, and experience design. None of the fields is well defined, but the focus of the efforts does vary, with industrial designers emphasizing form and material, interactive designers emphasizing understandability and usability, and experience designers emphasizing the emotional impact.