A Quote by Ivan Chermayeff
Good design, at least part of the time, includes the criterion of being direct in relation to the problem at hand - not obscure, trendy, or stylish. A new language, visual or verbal, must be couched in a language that is already understood.
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There is something monstrous in commands couched in invented and unfamiliar language; an alien master is the worst of all. The language of the law must not be foreign to the ears of those who are to obey it.
Graphic design is a visual language uniting harmony and balance, color and light, scale and tension, form and content. But it is also an idiomatic language, a language of cues and puns and symbols and allusions, of cultural references and perceptual inferences that challenge both the intellect and the eye.
There was a language in the world that everyone understood, a language the boy had used throughout the time that he was trying to improve things at the shop. It was the language of enthusiasm, of things accomplished with love and purpose, and as part of a search for something believed in and desired.
Programmers are always surrounded by complexity; we cannot avoid it.... If our basic tool, the language in which we design and code our programs, is also complicated, the language itself becomes part of the problem rather than part of its solution.
Language designers want to design the perfect language. They want to be able to say, 'My language is perfect. It can do everything.' But it's just plain impossible to design a perfect language, because there are two ways to look at a language. One way is by looking at what can be done with that language. The other is by looking at how we feel using that language-how we feel while programming.
Design is a form of competitive advantage. People tend to think of design as good art, good visual language, which it absolutely has to be. But it's also about the ability to do systems thinking.
A ruler must learn to persuade and not to compel... he must lay the best coffee hearth to attract the finest men... a good ruler has to learn his world's language... it's different for every world... the language of the rocks and growing things... the language you don't hear just with your ears... the Mystery of Life... not a problem to solve, but a reality to experience... Understanding must move with the flow of the process.
I am a part of the old school where I feel that purity of the language should be retained. But English is a constantly evolving language where new words are being added to the dictionary, so I don't see any harm in experimenting with the language. Only poor editing standards need to be improved.
I write in order to understand the images. Being what my agent . . . somewhat ruefully calls a language playwright, is problematic because in production, you have to make the language lift off the page. But a good actor can turn it into human speech. I err sometimes toward having such a compound of images that if an actor lands heavily on each one, you never pull through to a larger idea. That's a problem for the audience. But I come to playwriting from the visual world - I used to be a painter. I also really love novels and that use of language. But it's tricky to ask that of the theatre.
Language makes it possible for a child to incorporate his parents' verbal prohibitions, to make them part of himself....We don't speak of a conscience yet in the child who is just acquiring language, but we can see very clearly how language plays an indispensable role in the formation of conscience. In fact, the moral achievement of man, the whole complex of factors that go into the organization of conscience is very largely based upon language.
Language [can] be expressed . . . by movements of the hands and face just as well as by the small, sound-generating movements of the throat and mouth. Then the first criterion for language that I had learned as a student—it is spoken and heard—was wrong; and, more important, language did not depend on our ability to speak and hear but must be a more abstract capacity of the brain. It was the brain that had language, and if that capacity was blocked in one channel, it would emerge through another.
Visual art is a foreign language I'm fluent at, but my native language is language.
The language of Doctor Johnson and Mrs Hester Lynch Thrale, and that of their adult contemporaries, was the stately language of the time, polished, stylish, unordinary, even in the intimate pages of their diaries, and the regime of instruction was severe and practical.
We switch to another language-- not our invented language or the language we've learned from our lives. As we walk further up the mountain, we speak the language of silence. This language gives us time to think and move. We can be here and elsewhere at the same time.
Sound words can't be understood through formal study of the language alone. They're felt when you immerse yourself in the culture or lifestyle that becomes a part of you. The Japanese language is abundant with onomatopoeia. Even though I've lived in Japan a long time, sound words are still an uncertain territory. And I think new words are being created every day. Even when I don't know a word I can sometimes connect it to a meaning using the sensations produced by the sounds, which feels like I'm playing with words.
In animation, what's wonderful is that when you start to work with multiple nationalities, the common language becomes a visual language rather than a spoken language, which blends beautifully with the art form.
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