A Quote by Alexey Brodovitch
There is no recipe for good layout, what must be maintained is a feeling of change and contrast. A layout man should be simple with good photographs. He should perform acrobatics when the pictures are bad.
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I changed the layout of comic books in general. When I came in, layout design wasn't really part of what you did. It was all just panels, panels, panels. So when I came in, I thought, 'Nah, let's change that,' and I designed the page.
With each of those projects I wasn't thinking about how the layout would really affect the story I was working on - it wasn't the content that was affecting the layout, it was, how I wanted to draw at that point in time.
The ideal set-up would be the story man, the director, and the layout man, as well as musician, operating as a sort of story unit. They all should be keenly interested in the picture. No one in person should donate to an extent where he would keep the others from entering into the production and freely expressing themselves.
Paint and new flooring are simple refreshers. But it's not worth it to update all the kitchen cabinets if it's still the same bad layout.
With each of those projects I wasnt thinking about how the layout would really affect the story I was working on - it wasnt the content that was affecting the layout, it was, how I wanted to draw at that point in time.
That's the storyboard that we have in the beginning [of Valerian]. It's an easy shot. It's just a spaceship coming in. That's the first layout. On the first layout, we see the timing of the shot and the speed. It starts to get some shadows, and we see that everything is moving in the back.
I've always liked a formal layout and informal planting," she explained. "First get the structure right, like the bones in a face, then plant it like a crowded shoe. If you have a strong layout, you can let the plants seed themselves all over the place. Haphazard, unexpected... I like to be surprised by a garden.
Good visual layout shows the logical structure of a program.
If anyone says you are bad, this mean he wants you to be good, and I am here to be good, and I want to be good. If they say I have done bad, then they should also give me a chance to change myself for good.
I won't do advertising if they bring a layout and say, 'This is what we want to do,' because anybody can do that; it's not interesting. They've got digital and the computer; it's not taking pictures, it's not magic - it's a picture done by committee.
You are wrong, sir, if you think that a man who is any good at all should take into account the risk of life or death; he should look to this only in his actions, whether what he does is right or wrong, whether he is acting like a good or a bad man.
After years of practice, I can walk into a bookstore and understand its layout in a few seconds. I can glance at the spine of a book and make a good guess at its content from a number of signs.
You can do bad parts in good pictures or good parts in bad pictures and maybe get a little personal satisfaction. But the key to it all is good parts in good pictures.
The process must be concealed from - non-existent for - the photographer, who by definition need think of the art in the taking and not in the making photographs... In short, all that should be necessary to get a good picture is to take a good picture.
The good moral work of art should have all the qualities that a good amoral work of art should have, such as formal unity, balance, contrast, and a sensitivity to the material out of which it is made.
Process as process is neither morally good nor morally bad. We may judge results but not process. The morally bad agent may perform the deed which is good. The morally good agent may perform the deed which is bad. Maybe a man has to sell his soul to get the power to do good.
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