A Quote by Michael Bierut
A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for. Maybe you should be trying to come up with something that will really become associated with a moment in time, a few weeks, that happened, period. Then you look back, think about it and connect it with that time. It may look dated later but it will be still be evocative.
Related Quotes
A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for.
What gets me back to church, I think, is thinking maybe this time that question "Is it true?" will be answered, not just in terms of somebody saying, "Yes, it's true," but something will happen in a sermon or maybe shuffling up to the Eucharist, or in the old lady who's sitting beside me with a Bible - maybe something will happen which will show me that it's true. So I go back thinking, maybe this time I'll be lucky.
"Although who knows? Maybe this will be it, Katniss." "What?" I ask. "The time it sticks. Maybe we are witnessing the evolution of the human race. Think about that." And then he asks me if I'd like to perform on a new singing program he's launching in a few weeks. Something upbeat would be good. He'll send the crew to my house.
We're bombarded with images. Take the time to stop and look at something then connect with them and maybe they're thinking the same thing, I used a lot of devices to catch the eye of people who have seen a lot of stuff, having worked in advertising and in editorial. I have learned to get someone to stop and look at something, that language.
It's interesting for me because in my work, a lot of times, I like to scrutinize the clothes and think what's going to make them look dated, and I do the same with vintage. In vintage, you want something unique and different, but at the same time, something that doesn't make you look like you dress like a grandpa.
Sometimes I will give some very vague directions to the designer that I'm working with on a particular project and they'll come back and surprise me with something that really shows a lot of their own 'hand' in it. Other times I'll have a really clear idea about how I want it done and I'll draw it out pretty precisely and say 'make it look exactly like this' and it will be something where it looks like I can say it was 'fully my design'. The work can also range between the two.
There were a lot of days when I thought maybe this isn't what I should be doing. There've been a lot of days where you get to the point where you're like, "I don't know if I've got the will to even do this." It's the type of game that doesn't let you walk away so that's what happened, I just kept coming back to it until something really happened for me.
Maybe, there's a moment growing up when something peels back... Maybe, maybe, we look for secrets because we can't believe our minds...
I think it's so important that you understand what you're trying to accomplish, what you're trying to say. Timelessness is never a thing I think about. If you try to make things timeless, you can end up with things that are neither exciting nor timeless. It's sort of like aiming for the middle in a way. At the same time, I never want to have to use the word trendy because it's not really what interests me. That's something that is gone tomorrow.
We all have those dreams of going back in time and seeing what it was like when our parents were younger. Maybe we don't all have that dream. I don't know. Getting to role play or step back to a different moment in time and see things through a different lens is something that resonated with me, for sure. We don't get to do that, generally, but when the right neurological disorder lines up with the right unstable woman, that moment presents itself. Getting to know where we come from is a really profound way of getting to look at who we are.
I will look through 200 photographs of Kate Moss and there will be just one that I connect with for some reason, maybe because of the composition or something in the eye... Something touches me and I know I have to paint it, in the way a child knows it wants something.
I studied Comparative Literature at Cornell. Structuralism was real big then. The idea of reading and writing as being this language game. There's a lot of appeal to that. It's nice to think of it as this playful kind of thing. But I think that another way to look at it is "Look, I just want to be sincere. I want to write something and make you feel something and maybe you will go out and do something." And it seems that the world is in such bad shape now that we don't have time to do nothing but language games. That's how it seems to me.
I always thought that art that is produced somehow has to reflect the zeitgeist or the ambiance and the time and the history in which it is produced. I think it's inescapable. It's like we look back now, at work done savoring the thirties, and you can almost tell it was done during that period of time. Now maybe, that's a style of period or something, I don't know. I think my work, or the things that interest me, come out of my reaction to history.
When my mother didn't come back I realized that any moment could be the last. Nothing in life should simply be a passage from one place to another. Each walk should be taken as if it is the only thing you have left. You can demand something like this of yourself as an unattainable ideal. After that, you have to remind yourself about it every time you're sloppy about something. For me that means 250 times a day.
In all my life I'd never been approached this way, the car pulling up, the Where you going? It was something I wish had happened hundreds of times. I was a looker - someone who looked over at every car at every traffic light, hoping something would happen, and almost never finding anyone looking back - always everyone looking forwards, and every time I felt stupid. Why should people look at you? Why should they care?
All I know is that I've wasted all these years looking for something, a sort of trophy I'd get only if I really, really did enough to deserve it. But I don't want it anymore, I want something else now, something warm and sheltering, something I can turn to, regardless of what I do, regardless of who I become. Something that will just be there, always, like tomorrow's sky. That's what I want now, and I think it's what you should want too. But it will be too late soon. We'll become too set to change. If we don't take our chance now, another may never come for either of us.
Related Authors
Alexey Brodovitch Quotes
American
Graphic Designer
April Greiman Quotes
American
Graphic Designer
Bob Gill Quotes
American
Graphic Designer
Emil Ruder Quotes
Swiss
Graphic Designer
Erik Spiekermann Quotes
German
Graphic Designer
Herbert Bayer Quotes
American
Graphic Designer
Jessica Walsh Quotes
American
Graphic Designer
Lester Beall Quotes
American
Graphic Designer
Neville Brody Quotes
English
Graphic Designer
Paula Scher Quotes
American
Graphic Designer
R. J. Palacio Quotes
American
Graphic Designer
Susan Schneider Quotes
American
Graphic Designer
Wim Crouwel Quotes
Dutch
Graphic Designer
Zuzana Licko Quotes
American
Graphic Designer