graphic-designers

"I agree with some of it. In the light of current Web systems, creating a site with ordinary HTML and XML technology ensures effective information media. Up to now, developing a site by using Flash meant that sacrifices had to be made in other areas. We must bear this in mind. We should also remember that Flash is a mere tool like any other Web technology. It is important to know how to use tools freely, but dependency on a specific tool leads to meaningless results."

"Some people feel that designers are often drawn to Flash because of its multimedia capabilities at the expense of other demands of a client's brief. In other words, Flash is often misused or used to build sites where other technologies might have served the client's needs better."

"I am not really interested in Flash as a mere animation tool. I use Flash because of its programming possibilities, ability to integrate with graphical images, good browser compatibility and because it is easy to use."

"On the other hand, I feel strongly that where the Web is used as media, it should always involve new experiences and excitement. I like to satisfy my desire to present something interesting that has not been seen before, even if it is at a cost. When I work with a client who feels the same, I will go ahead and do what I want to do. Each case is of course judged on its own merits."

"“I came from a traditional art background, and seeing people use technology to tell stories really captivated me.”"

"The first time I learnt about Karabo Poppy Moletsane and her work was four years ago when she was unveiled as one of the African creatives, who collaborated with a major European brand."

""Shoebox collections like Poppy’s tower are a source of pride within sneaker culture, according to Wells. By having those boxes serve as her “vision board,”"

"“There’s a certain way in which we tell stories that I think the world not only will enjoy, but I think the world needs.”"

"“I was blown away by how people were creating digital art with all this software I’d never heard of, and communicating just using their art,”"

"“I’m extremely proud to be a Black female African illustrator because this was a space, I’ll say 10 years ago, there weren’t a ton of us there,”"

"“We need to see more female designers in the industry. There’s not enough,”"

"“Within all of my work you’ll see nuggets of a zigzag and that represents cornrows that you see in beautiful patterns; you’ll see combs, you’ll see people that look familiar to myself and my narrative,”"

"“Hair has been something that’s important for not only my family but a lot of African people as well; it’s really like the center of our identity in a way. So, when I started drawing, I’d draw people having really fresh haircuts or beautiful braids.”"

"“I’d always associated that with Black people really creating groundbreaking, global, effective work and I really wanted to be a part of it.”"

"“When I started my (art) journey, I was really inspired by hip-hop, rap and basketball, and I’d always seen this theme of Nike Air Force 1s and Air Jordans,”"

"“I feel immense pressure because I really want to represent my identity correctly and authentically, make sure it’s being celebrated and not exploited for monetary gain or trendiness. But I take comfort in knowing that my community really supports me, and is really encouraging me to continue to do what I do. And I trust my own decisions.”"

"“It’s always been a part of my journey since I was little, so it felt like it came full circle, and confirmed what I’m doing. And now my parents believe that this is a real job!”"

"“It was the first time we saw black people create something so uniquely theirs, and so visually beautiful, that spoke of all the things we learn at home, in a way that was so proud and unashamed. It was so far away from us, but we could relate to everything we saw in the music, fashion and sitcoms – it still felt like home somehow.”"

"“That’s when the fire got lit underneath me, because it wasn’t being done, and I thought it was overdue.”"

"“In the beginning, I didn’t think my voice would be enough, or that anyone that came from where I came from would even be listened to.”"

"“I didn’t think anyone that came from where I came from would be listened to.”"

"“In the textbooks, there was traditional and primitive African art, nothing contemporary, or in the context of advertising or digitisation.”"

"“What we were learning was catered to more of a Western narrative, and we weren’t really seeing an African narrative being taught or explored, or even encouraged,”"

"Among those creatives were the impeccable Manthe Ribane and Nonku Phiri, I knew there and then that she was a force; given the calibre of brilliant women she was featured alongside. Her work was impressive then and still is now; she has not looked back since."

"We need to value meaning over form. For the past 60 years, we've put form before meaning. If, over the next 50 years, we put meaning over form, then we might get the proper balance."

"It is not enough that something — a chair, an exhibition, a book, a magazine — looks good and is well designed. The 'why' and the 'how', the very process of design itself, must be equally evident and quite beyond the tyranny of individual taste."

"We like design to be visually powerful, intellectually elegant, and above all, timeless."

"It’s a matter of discipline, and it starts by looking at the problem and collecting all the available information about it. If you understand the problem, you have the solution. It’s really more about logic than imagination."

"In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest. So come and see A Few Basic Typefaces."

"As I said, at the time [1991], if all people doing desktop publishing were doctors we would all be dead! Typefaces experienced an incredible explosion. The computer allowed anybody to design new typefaces and that became one of the biggest visual pollution of all times. … I still believe that most typefaces are designed for commercial reasons, just to make money or for identity purposes. In reality the number of good typefaces is rather limited and most of the new ones are elaborations on pre-existing faces. Personally, I can get along well with a half a dozen, to which I can add another half a dozen, but probably no more."

"How can you communicate without knowing the rest of culture?"

"I learned an enormous amount from Massimo about how to be a good designer. But I learned how to be a successful designer from Lella."

"The most remarkable thing is their consistency. There’s no sense of the passage of time. Their work is not trapped in a style."

"In my opinion, people in our society are becoming like clones. Children are not reading books , and they are not learning by doing. They're just sitting and watching each other be pretty. Like my vases."

"Performance of the violinist -- it's all in the interpretation and all the virtuosity comes out of the context of the interpretation!"

"If Marx were still alive, he would write: “Social networks are the opium of nations!"

"A hero; in our dark, indifferent and cruel universe is the one who makes life bearable and meaningful for human condition."

"It is easy to start a war, but its end is decided by will-o-the-wisp, which is so effective in deceiving travelers on this road!"

"The pronouncements by Hegel and Nietzsche, on "the End of Art" and "the Death of God" ignited the fad of Endism in the western culture in the final century of the last millennium. Daniel Bell 's "The End of Ideology" (1960), Martin Heidegger's "The End of Philosophy" (1973), Theodore J. Lowpdi's "The End of Liberalism" (1979), Arthur Danto's "the End of Art" (1984), Bill McKibben's "The End of Nature" (1989), Francis Fukuyama's "The End of History" (1992), Kenichi Ohmae's "The End of the Nation State" (1996), Jorie Graham 's "The End of Beauty" (1999), Chris Dillow's "The End of Politics” (2007) were just some of such seemingly endless stream of "endings", which made one wonders that at such high rate will there anything be left for a future ending!"

"How would you explain Manet’s '? Yes, you may say that the mirror in the back of the barmaid, like Plato’s , shows that the reflections in the mirror are as close as the viewers get to viewing reality, which is mixed up with the inner reality of the barmaid, her reflection in the mirror, and her own picture in front of the viewer and image of Manet himself as the painter and as the creator of that painting in that mirror. Yet we know that this picture cannot be real since the artist cannot simultaneously be painting the picture and be steering at the barmaid in the guise of a client in the picture. Since, if the picture shows the true reality the mirror must reflect the painter performing the act of painting! Explanations like these are, of course, stating the obvious. The truth pf this painting is all revealed at that very moment in which it connects with the subconscious of the viewers. Manet does not want to warn his viewers that “look! I am showing you the illusion of picturing reality in painting”. If he really wanted to give such a warning he would have written such a warning underneath his work, pretty much the same way that wrote '. But, even Magritte’s warning is not that clear! What is not a pipe, that illustration of a pipe? If so, then that is obvious, and what is the point of stating the obvious? Perhaps Magritte like Ferdinand de Saussure wants to say there is a difference between the pipe as a ‘signifier’ and the pipe as a ‘signified’. As I stated the grammar of painting is different from the grammar of language."

"As Amish say "There is a vast difference between putting your nose in other people's business and putting your heart in other people's problems,” and there is also a vast difference between using the ‘grammar of language’ and the ‘grammar of painting’. In a language we have subjects, adjectives, verbs, and so on, and in painting we have light, composition, geometric planes, and lines. It is by using this grammar that one can understand a work of art. This is very similar to Ferdinand Saussure’s, distinction between “la langue” and “la parole” for interpretation of written words."

"It must be said that an authentic work of art needs no philosophical justification. In principle, if Philosophical Treatises could explain a work of art then there would be no justification for the existence of that work art. Put it differently, a work of art precisely enters into the scene when philosophy and other experimental sciences are inept of representing or elucidating an artistic vision."

"I believe any philosophizing about art is absurd and empty. Unfortunately, in the last century a phenomenon has emerged in which the status of “work of art” were granted to many foolish, tacky, and distasteful works as long as they were accompanied by ten or twelve pages of philosophizing justification."

"I love to experiment with all styles, and do not have any particular prejudice or bias towards any specific style. These works appear, and they turn out, the way they should. I do not decide in what style I want to paint. I am only experimenting. Even Picasso, when he arrived at Cubism, had already experimented with a lot of other styles."

"In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new."

"I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture."

"If I were the type of artist that didn't care whether or not my works communicated with viewers then I wouldn't bother exhibiting them, I might as well stock them in a warehouse. But I do exhibit and I do care because I want to communicate back to the viewer what I've viewed. My paintings are inspired by my homeland's traditional spaces. My colors are the colors of monasteries and mosques, the color of ruins of Sassanid and Seljuq era, colors of Bazaars of Isfahan and Shiraz, and colors of northern-Iran's ceramics. I have sensed all these colors, forms and everything within my painting's frame from the viewer's own world."

"Seurat and Signac mixed paintings with the dry and abstract laws of science. This approach, in my opinion, usually strays from the purpose of art in general. Because it means that one cannot expect from an artifact, that is created with mathematical laws, to establish an improbable and irrational relationship between the work and the viewer."

"As for the value of color I am close to the philosophy of Fauvists: Matisse, Raoul Dufy, and Vlaminck. In other words, color for me is the most important constituent of painting. The composition and form extract themselves from the depth of color. My colors are the spirit of my paintings. For example, when the space is sad it is my pallet of colors that convey this sadness first."

"These days there are painters that go inside a factory in order to be inspired by the noise of machines, so that it affects their works. Of course, artists need sensibility; sensibility towards their environment and their community, but when they are stirred enough by their experiences in their society they can create their art in small studios."