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Design Quotes

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Design Quotes

“One of those strange things that happens in movies is that you need someone to actually say people's names, or else you have no idea who those kids are. This was a way for her to introduce who the important boys were in the story, but then it just was so funny that it became a centerpiece to it. When you look at the character design that Tim did for Weird Girl, and what Catherine [O'Hara] did with the voice, and it's gonna kill.”

“You know something has really stuck in Tim's head when he's drawn what the character looks like. Weird Girl and Elsa actually switched places, at one point. I may be mis-remembering it, but the original design for Weird Girl was actually Elsa, but then it became Winona Ryder's character, and the new Weird Girl was just fantastic with those giant wide eyes.”

“If you look at Cinderhella, from a production design aspect, I tried to find an interesting, iconic character, having her face wrapped up in bandages. That was funny. On the dream logic level, you'll see the parallels of that interesting connection that I made. There's a reason why she's called Cinderhella.”

“I had a parakeet that used to fly around the house and crash into these huge mirrors my mother put in. Ever heard of this interior design principle, that a mirror makes it seem like you have an entire other room? What kind of jerk walks up to a mirror and goes, Hey look, there's a whole other room in there. There's a guy that looks just like me in there.”

“My favorite part about costume designing is the artistry of the job. You meet with a director and a visionary to discuss ideas. You research the characters and figure out the components of their look through your own vision. You create a color palette for a film, television or stage medium and discuss it with the director of photography who then lights your colored subjects.”

“Design is not just what it looks like and feels like. Design is how it works.”

“Design is a funny word. Some people think design means how it looks. But of course, if you dig deeper, it's really how it works.”

“I think about the story while I think about other things. This is an important part of the process: I look at it sideways. If I look straight at it, it produces nothing other than what seem like complicated, brilliant designs that fall apart the following morning. In some way stories mature when you're not looking.”

“One of my favorite things about the Kung Fu Panda 3 is the look of it. We never go for realism. I think a lot of time when people go for 3D that's the mistake. Because we're never going for full realism - for computer generated live action films like Avatar the goal is realism, to make the audience feel like they are seeing something that is real. Lord of the Rings had character design and environments to make it look real, whereas we aren't going for that, we are going for something that is theatrically, viscerally, and emotionally real.”

“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.”

“Really, you have to keep everything streamlined, and lined and sexy and close to their body. They really had to work very hard at their own patience. But yeah, you absolutely consider their physiques as they are, and how can we help them look even better, or more powerful, and you adapt designs for the actors. You want to keep them as cool as comfortable as you can.”

“I met designers that are in the business for ten years in the movies, and their biggest complaint is things don't look anything like they were designed. Look at my drawing! But nobody ever sees the drawing, that's the thing. So I knew right from the beginning that I would design everything in 3D on my computer, and those models literally went to the machines. So every little radius on most of the vehicles you see there, I built with my mouse and keyboard.”

“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.”

“Now my mom designs to resign so she runs for US senate, and now at 67 my mom just launched a new company called Women's Leadership Live, she is the cofounder and CEO, and it's all about empowering women to be successful in business however they define success. When you have a role model like that you really don't ever look at gender as an issue and it's about owning your place and taking charge of your role, regardless of what you look like.”

“Sometimes I will give some very vague directions to the designer that I'm working with on a particular project and they'll come back and surprise me with something that really shows a lot of their own 'hand' in it. Other times I'll have a really clear idea about how I want it done and I'll draw it out pretty precisely and say 'make it look exactly like this' and it will be something where it looks like I can say it was 'fully my design'. The work can also range between the two.”

“A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for. Maybe you should be trying to come up with something that will really become associated with a moment in time, a few weeks, that happened, period. Then you look back, think about it and connect it with that time. It may look dated later but it will be still be evocative.”

“Certain kinds of typeface design and typographic design are designed to persuade: we can make this company look modern if we use a crisp sans serif typeface, or we can make this restaurant look like its been around forever if we use typefaces and layout styles that have been around forever too. But there are other categories, and ballot design is one of them, where the goal should be to be purely functional. There have been notable failures in this category.”

“I have no problem with the idea of comfort, but it is not an important thing aesthetically. If you look at a shoe and immediately say it looks very comfortable, in terms of design, it is not going to excite me. Of course, I am not putting nails in my shoes to ensure everybody is in pain, but a heel is not a pair of slippers and never will be.”

“We should always look upon ourselves as God's servants, placed in God's world, to do his work; and accordingly labour faithfully for him; not with a design to grow rich and great, but to glorify God, and do all the good we possibly can.”