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Art Director Quotes

Browse 21 quotes about Art Director.

Art Director Quotes

“Playing Japanese characters and being in environments that are Japanese, like a character's apartment or whatever, if you have directors or art directors who just don't know what' s what with Japanese culture, then pretty soon something's just passed through. I've been through many times where I've pointed out the incorrectness of so much of what's been done to a set.”

“I started as an artist and I had a side job moving some heavy boxes for a publishing company. They had just gotten a Mac for their art department, the department that creates the book covers. I was kind of showing the art director a thing or two about how to use a Mac. And one day everyone went out to lunch and I jumped on the computer and designed a book jacket and slipped it in the pile to go to the review board in New York. They picked my jacket and when the art director got back to Boston, he wanted to know who designed it and I said, "Me." He was like, "The box guy?"”

“I took photos from 1976 to when I left in 1993, primarily for Interview and a column I had called "Bob Colacello's Out" which Andy had conceived of. I've never taken a picture since, not even with my phone! It just felt too Andy Warhol to keep going around town taking photographs. And I never really thought of doing anything with them after I left the magazine until this great Art Director Sam Shahid about for or five years ago asked where all of the old photos were.”

“Once we realized that there were these 25 invariable types - the class politician, the frigid popular girl, the kid who tags along behind the jocks - once we came up with these key characters in a cloud of marijuana, the whole thing just came together. One of the things I'm really proud of is how much of a high-school yearbook it is in its look, so much so that Hunter Publishing had the art director, David Kaestle, and I come for years to their annual convention and do a little talk on how not to do a yearbook.”

“Back in the Bruce Lee era, and in my era, Kung-Fu stirred up a kind of frenzy, and many people were learning martial arts from us. But about a decade ago, Hollywood began bringing in a number of our action choreographers, including two from my own stunt crew, where they became martial arts directors. Now, a decade later, Hollywood has learned it all, so when you look at the action films they're making now, they all use our action, our martial arts, and then add to that their own technology which is ten times better than ours, and it has to leave us dumbfounded: how did they film that?”

“I have learned patience, for sure. Pre-publication is a long waiting game, especially for authors of picture books. We write the manuscript, sign the contract, and wait. It takes a while for the art director to find an illustrator and then the illustrator works on the sketches, and depending on those first round of sketches, it could be a few more months before you see a final illustration. I was surprised at how long it takes for all the pieces to come together.”

“No matter how much crap you gotta plow through to stay alive as a photographer, no matter how many bad assignments, bad days, bad clients, snotty subjects, obnoxious handlers, wigged-out art directors, technical disasters, failures of the mind, body, and will, all the shouldas, couldas, and wouldas that befuddle our brains and creep into our dreams, always remember to make room to shoot what you love. It's the only way to keep your heart beating as a photographer.”

“Photographers should make three or four prints from one negative and then crop them differently. When I was art director at Harper's Bazaar and at several agencies as a consultant, young photographers would bring me their portfolios and all the prints would be in the same standard proportions, either for the Leica or the Rolleiflex. Many times, by limiting themselves in this way, they missed the true potentialities of their photographs.”

“In the eighties, I was fortunate to be one of the young art directors that Jerry Roach, creative director at JWT New York, took under his wing. He taught me how to use typography more visually, to push against design norms and not to rely on preconceived notions of what something should look like. I learned that nuance is everything and to agonize over the details. I have Jerry to thank for driving plenty of people crazy over the years!”