I love you like a gay geneticist loves designer genes.
One of the mistakes they often make is the designers over-accessorize or over-elaborate. So you realize: this would work if they removed X and Y. And actually, that's the sort of thing that translates into writing, because a lot of the time you realize, I feel I need to add something here but actually what I need to do is subtract. And then there's always the psychodrama and the tears and the rage and the feuds.
If you say that you're a cheap designer, you're a cheap designer. It's really hard to recover from that.
The reason why many clients don't value design is because haven't had a designer prove to them the value of it. You need to prove it to clients who've hired a bunch of shitty designers and their business has not been that successful. When they hire a good designer, they see the difference.
I'm part of the first generation who grew up with manga [comics] and anime [animation], you know, after 'Godzilla.' I was absorbed with Ultraman on TV and in manga. The profession of game designer was created really recently. If it didn't exist, I'd probably be making anime.
Graphic design was largely about communication in an artistic or creative manner, much like writing is used to convey ideas. Many designers completely miss that aspect of the "art." Some are completely satisfied with just making things pretty, without taking the communication element into consideration.
As designers we are influenced both consciously and subconsciously by everything we see around ourselves. Still, we always must try to avoid anything that has been defined as the latest and greatest "trend" in design.
There's nothing funny about, 'Yeah, I took a First Class plane ticket and I went to some designer beach and made out with a Laotian slave girl.' Who cares?
I think the responsibility of running a huge business, which happens if you become a successful designer, probably makes you more careful.
Being a good designer certainly doesn't guarantee that you're good at business. It's probably more surprising when the two talents coexist in one person.
Every movie I work with the costume designer to see what feels like the character, not what Columbus would wear but what is right for the character. Outside of the armored truck standard issue security guard uniform, this guy is trying to make ends meet. He might have one pair of jeans, the same boot, maybe changes his shirt but he doesn't have a walk-in closet full of things, so I wanted something comfortable that felt like the character.
The more closely the author thinks of why he wrote, the more he comes to regard his imagination as a kind of self-generating cement which glued his facts together, and his emotions as a kind of dark and obscure designer of those facts. Reluctantly, he comes to the conclusion that to account for his book is to account for his life.
The designer [...] has a passion for doing something that fits somebody's needs, but that is not just a simple fix. The designer has a dream that goes beyond what exists, rather than fixing what exists. [...] The designer wants to create a solution that fits in a deeper situational or social sense.
Any tendency to design for design's sake, to create a pattern within which the owner must live according to rules set by the designer, is headed for frustration, if not disaster.
Over 95% of the designers who have ever lived are alive today. Together, we have the power to define what professionalism in the communications industry will be about: helping increase market share or helping repair the World.
My favorite designers are Levi Strauss and Fruit of the Loom
No game designer ever went wrong by overestimating the narcissism of their players.
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.
Players like to know that they've discovered things that even the designers didn't know were in the game.
Screenwriting you don't necessarily have to do the job of the costume designer and the prop master and the set designer. It's more just about finding the visuals and finding these characters through dialogue.
I only started getting into furs when the designers I liked started making them.
I don't see myself as a pure fashion designer sending dress after dress down the runway but about wanting those watching my shows to aspire to a certain lifestyle.
I like the new shoe designers. Not all of them - there are really bad ones too. But I go to the colleges with these kids for lectures, as an honorary professor or whatever, and this Chinese girl I like very much who I give the award to says to me, "You don't know how much you inspired me to do shoes." And I'm glad that I convey that kind of desire to people when they see my bloody shoes.
People are like, "Why are you all dressed up? Did you dress up just for me?" I'm like "No, I dressed up because I'm an adult and I felt like putting on my suit." But I love it. Tom Ford and Ralph Lauren are my two heroes of clothing designers.
I'm not planning a kickstarter game. And I'm not really a game designer.
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