Best 2876 quotes in «design quotes» category

You have to be able to risk your identity for a bigger future than the present you are living.

You have to design a story that might appear on the front page of the newspaper for the website. You don't have to design it in such a way that it can be self contained, that it makes sense if you never hit the front page of it.

You have to design and program differently. Combat action in an MMO is so different to combat in a first-person shooter.

You have to have great design to be competitive in today’s markets.

You have to finish things - that's what you learn from, you learn by finishing things.

You have to write scenes and design scenes that are scary and horrific, but that are also watchable. I didn't want people to just feel like they got punched in the stomach.

You imagine a reader and try to keep the reader interested. That's storytelling. You also hope to reward the reader with a sense of a completed design, that somebody is in charge, and that while life is pointless, the book isn't pointless. The author knows where he is going. That's form.

You just can't beat slip covers for giving that friendly air hospitals need so desperately.

You know music and sound design can be very powerful with how you use it but also the absence of sound can say a lot as well.

You know, the only way I've found to make these pictures is with animators. You can't seem to do it with accountants and bookkeepers.

You know, the old version was about balancing a checkbook. The new version is about the risks of debt, which is so much more widely available. So I think it's important that we design relevant financial literacy courses, and teach them starting early in grade school.

You look at energy use in the U.S. and one-third of it is automotive or our transportation system, one-third of it is manufacturing and one-third of it is buildings. That means architects are responsible for one-third of energy by their designs. So not only is it dire, it's also something that we can do.

You make your own luck. Luck is the residue of design.

You may include things you believe to be crucial in a design, but those elements are often only crucial to you.

You mix a bunch of ingredients, and once in a great while, chemistry happens.

You must be able to write. You must have a sense of form, of pattern, of design. You must have a respect for and a mastery over words.

You never know what people are going to respond to or want in your work, and you just hope for the best when you design a collection, and try to make it as well-rounded as you can.

Your best work is your expression of yourself. Now, you may not be the greatest at it, but when you do it, you're the only expert.

Your divine design dictates your future direction.

You should know as much as you can about the human species if you have a hand in designing human society. Of course, I'm not saying that you can derive moral rules from nature - that's deriving an ought from an is, as the philosophers say - but you do need to know what kind of animals we are if you want to design a stable society.

Your first try will be wrong. Budget and design for it.

Your spiritual developement is a divine path that leads to truth, goodness and beauty; it is a spiritual path reflecting the unlimited, absolute nature of the universe and the ultimate grand design of creation.

You should know as much as you can about the human species if you have a hand in designing human society.

Your culture is your brand.

Your own imagination as to the true ability of the permaculture design system, you need to trust the system and stick to main frame basics with profound and thorough thinking while trusting yourself.

...your Web browser is Ronald Reagan.

You spend your life training to be an actor, observing people's characteristics so that you can design characters around what you've seen.

You've got to bumble forward into the unknown.

You wish to be great, begin from the least. You are thinking to construct some mighty fabric in height; first think of the foundation of humility. And how great soever a mass of building one may wish and design to place above it, the greater the building is to be, the deeper does he dig his foundation.

You will find scraps of paper all over the house when I am designing a new woodcut and woe betide the person who touches one of the scraps. When I have the exact design in my mind, I set the model up, pots and flowers, leaves and background, and begin work.

Accident is nature’s way of starting a design; design is a man’s way of looking at the accidents.

4. Radicalism of forms. If a new model once created meets with much success on account of its greater efficiency than its predecessor, it lends certain neighbouring forms a formal radicalism, which attempts to borrow from the appearance of the new form: for example, bronze tools that had reached the furthest development of their utility had a disastrous influence on stone tools, warping them toward an elegance that could only be attained in bronze. Today aviation has imposed its aerodynamic forms even on baby strollers and irons. This radicalism of forms is a result of the fact that people become bored when they do not find some unexpected element in the familiar. This radicalism might seem illogical, as the advocates of standardization believe, but we must not forget that discovery is only made possible by this need of humanity.

Zest is the secret of all beauty. There is no beauty that is attractive without zest.

A city street equipped to handle strangers, and to make a safety asset, in itself, our of the presence of strangers, as the streets of successful city neighborhoods always do, must have three main qualities: First, there must be a clear demarcation between what is public space and what is private space. Public and private spaces cannot ooze into each other as they do typically in suburban settings or in projects. Second, there must be eyes upon the street, eyes belonging to those we might call the natural proprietors of the street. The buildings on a street equipped to handle strangers and to insure the safety of both residents and strangers, must be oriented to the street. They cannot turn their backs or blank sides on it and leave it blind. And third, the sidewalk must have users on it fairly continuously, both to add to the number of effective eyes on the street and to induce the people in buildings along the street to watch the sidewalks in sufficient numbers. Nobody enjoys sitting on a stoop or looking out a window at an empty street. Almost nobody does such a thing. Large numbers of people entertain themselves, off and on, by watching street activity.

A company has integrity when its words and actions consistently match the branding effort.

A creative design to everything demands a Time Keeper to exist. It was born out from the womb of primordial time!

A design can excel at one challenge only by compromising at others.

A distinctive appearance and a simple set of characteristics lead to an extremely flexible brand. (pg. 38)

A first-rate story is easily killed by second-rate design.

Ah, but prophecies have a way of fulfilling themselves,' Khayman said. 'That's the magic of it. We all understood it in ancient times. The power of charms is the power of the will; you might say that we were all geniuses of psychology in those dark days, that we could be slain by the power of another's designs. And the dreams, Marius, the dreams are but a part of the great design.

Als een site is voorzien van een elegant design maar verder niet bruikbaar is, zal de site falen. Het omgekeerde is echter ook van toepassing! Als een site perfect bruikbaar is maar is voorzien van een volkomen ongeïnspireerd en oersaai non-design, zal hij eveneens falen.

All of science is largely formalized common sense.

Although data can make a compelling case for something, data rarely create the emotions needed to spur people into action

All human aspirations are opportunities for brands to build relationships.

...and I came to the conclusion that in any project we design and develop, the size and degree of complexity of the information and control systems inscribed in it are the crucial factors, so that the all-embracing and absolute perfection of the concept can in practice coincide, indeed ultimately must coincide, with its chronic dysfunction and constitutional instability.

And not just the right thing; it’s profoundly the right thing to do, because the one argument for accessibility that doesn’t get made nearly often enough is how extraordinarily better it makes some people’s lives. How many opportunities do we have to dramatically improve people’s lives just by doing our job a little better?

As children get older, this incidental outdoor activity--say, while waiting to be called to eat--becomes less bumptious, physically and entails more loitering with others, sizing people up, flirting, talking, pushing, shoving and horseplay. Adolescents are always being criticized for this kind of loitering, but they can hardly grow up without it. The trouble comes when it is done not within society, but as a form of outlaw life. The requisite for any of these varieties of incidental play is not pretentious equipment of any sort, but rather space at an immediately convenient and interesting place. The play gets crowded out if sidewalks are too narrow relative to the total demands put on them. It is especially crowded out if the sidewalks also lack minor irregularities in building line. An immense amount of both loitering and play goes on in shallow sidewalk niches out of the line of moving pedestrian feet.

A person is not a closed system, they can never be fully self-sufficient. We need each other because we cannot make everything ourselves. Everything was invented, but it was not done alone, so we should revere the times we are able to fill this complementary role for others, and cherish when others do so for us. It's the words of others that teach us to speak, the expressions of life by other people that teach us how to express ourselves.

A Puritan twist in our nature makes us think that anything good for us must be twice as good if it's hard to swallow. Learning Greek and Latin used to play the role of character builder, since they were considered to be as exhausting and unrewarding as digging a trench in the morning and filling it up in the afternoon. It was what made a man, or a woman -- or more likely a robot -- of you. Now math serves that purpose in many schools: your task is to try to follow rules that make sense, perhaps, to some higher beings; and in the end to accept your failure with humbled pride. As you limp off with your aching mind and bruised soul, you know that nothing in later life will ever be as difficult. What a perverse fate for one of our kind's greatest triumphs! Think how absurd it would be were music treated this way (for math and music are both excursions into sensuous structure): suffer through playing your scales, and when you're an adult you'll never have to listen to music again. And this is mathematics we're talking about, the language in which, Galileo said, the Book of the World is written. This is mathematics, which reaches down into our deepest intuitions and outward toward the nature of the universe -- mathematics, which explains the atoms as well as the stars in their courses, and lets us see into the ways that rivers and arteries branch. For mathematics itself is the study of connections: how things ideally must and, in fact, do sort together -- beyond, around, and within us. It doesn't just help us to balance our checkbooks; it leads us to see the balances hidden in the tumble of events, and the shapes of those quiet symmetries behind the random clatter of things. At the same time, we come to savor it, like music, wholly for itself. Applied or pure, mathematics gives whoever enjoys it a matchless self-confidence, along with a sense of partaking in truths that follow neither from persuasion nor faith but stand foursquare on their own. This is why it appeals to what we will come back to again and again: our **architectural instinct** -- as deep in us as any of our urges.

As a designer, you have to think in time and see things in sequence. You have to see information as a narrative form - Paul Mijksenaar quoted by Kim Baer