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Design Quotes

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Design Quotes

“People ache to believe that we human beings are vastly different from all other species - and they are right! We are different. We are the only species that has an extra medium of design preservation and design communication: culture.”

“It does not follow from the separation of planning and doing in the analysis of work that the planner and the doer should be two different people. It does not follow that the industrial world should be divided into two classes of people: a few who decide what is to be done, design the job, set the pace, rhythm and motions, and order others about; and the many who do what and as they are told.”

“In the judgment of design engineers, the ordinary means of communicating with a computer are entirely inadequate. [...] Graphical communication in some form or other is of vital importance in engineering as that subject is now conducted; we must either provide the capability in our computer systems, or take on the impossible task of training up a future race of engineers conditioned to think in a different way.”

“The artificial intelligence approach may not be altogether the right one to make to the problem of designing automatic assembly devices. Animals and machines are constructed from entirely different materials and on quite different principles. When engineers have tried to draw inspiration from a study of the way animals work they have usually been misled; the history of early attempts to construct flying machines with flapping wings illustrates this very clearly.”

“The Escalation programmers come from a completely different background, and the codebase is all STL this, boost that, fill-up-the-property list, dispatch the event, and delegate that. I had been harboring some suspicions that our big codebases might benefit from the application of some more of the various “modern” C++ design patterns, despite seeing other large game codebases suffer under them. I have since recanted that suspicion.”

“People say graphic design is so different now, because you have so many more pixels and colors to work with... But when you study art history, you see there's just nothing new under the sun. Mosaics and needlework, it's all analogous to pixel and bitmap art. And with it all, good design's not about what medium you're working in, it's about thinking hard about what you want to do and what you have to work with before you start.”

“Designing for me is a very complex process. There are many ideas that I want to express in one object, very often contradictory. The creative process in Miu Miu is completely different from that of Prada. Miu Miu is not as complicated and thought out as Prada. Rather than being young, Miu Miu is immediate Prada is very sophisticated and considered; Miu Miu is much more naive. The solution, when I am working on Miu Miu, has to come immediately, instinctively, spontaneously with whatever is available at the moment. If I think three times, I stop.”

“Everybody's going to do the 3D slightly differently the same way that people are going to deal with color differently. Some movies downplay the color, some color is very vibrant. Color design is very different. We've got to think of 3D like color or like sound, as just part of the creative palette that we paint with and not some whole new thing that completely redefines the medium.”

“Engineers are not the only professional designers. Everyone designs who devises courses of action aimed at changing existing situations into preferred ones. The intellectual activity that produces material artefacts is no different fundamentally from the one that prescribes remedies for a sick patient or the one that devises a new sales plan for a company or a social welfare policy for a state.”

“The idea that hardware on networks should just be caches for movable process descriptions and the processes themselves goes back quite a ways. There's a real sense in which MS and Apple never understood networking or operating systems (or what objects really are), and when they decided to beef up their OSs, they went to (different) very old bad mainframe models of OS design to try to adapt to personal computers.”

“One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.”

“I am not a great believer in dialectical struggle. I am much more of a fusion person. I see it as a dialogue, or trialogue, or polylogue: many, many, many voices, going back a long way. The cultural picture is much more mutually enriching at many different levels, manufacturers...absolutely, design and calligraphy. It's an amazing amount of cross-interests between people.”

“You know, you have to do homework. You listen to who they are, what they do. I also compare it to designing clothes for people. If somebody brings in Tilda Swinton, you're not going to give her the same dress you'd give Gabourey Sidibe. Everybody looks different in a different line, a different color. The same thing with the way people speak.”

“You look at the world situation, look at London, Paris, Italy, it is all basically the same as the U.S. Then you look at other places such as India, Bali, with warmer climates, you know the Southern climates, they are very different. I think there is a time and place for everything and in Australia, for example, it is completely the opposite. I don't think we can be designing for that customer per se.”