A Quote by Milton Glaser

I have been an art director, a book designer, a book-jacket designer and an interior designer. — © Milton Glaser
I have been an art director, a book designer, a book-jacket designer and an interior designer.
Being a head designer or art director or just even a designer, you need a certain level of experience and maturity.
How a designer gets from thought to thing is, at least in broad strokes, straightforward: (1) A designer conceives a purpose. (2) To accomplish that purpose, the designer forms a plan. (3) To execute the plan, the designer specifies building materials and assembly instructions. (4) Finally, the designer or some surrogate applies the assembly instructions to the building materials. What emerges is a designed object, and the designer is successful to the degree that the object fulfills the designer's purpose.
I'm an artist, a designer, a craftsman, interior designer, half-architect. There's no one name that fits me very well.
As a designer, as you get used to Kinect, it's such a different experience for me as a designer - for any designer.
Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.
It's been a bit tricky trying to establish a 'designer' profile and not a designer-cum-girl-around-town.
I had no special training at all; I am completely self-taught. I don’t fit the mold of a visual arts designer or a graphic designer. I just had a strong concept about what a game designer is – someone who designs projects to make people happy. That’s his purpose.
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.
The words graphic designer, architect, or industrial designer stick in my throat, giving me a sense of limitation, of specialisation within the specialty, of a relationship to society and form itself that is unsatisfactory and incomplete. This inadequate set of terms to describe an active life reveals only partially the still undefined nature of the designer.
If you've taken the job to be the stylist for a collection, then I think it's important for you to really listen to the designer and look at the board. Look at the wall, look at what the designer is interested in, and then move on to that. But the designer also must not lose sight of the reason for their point of view. Otherwise it won't come across.
My mother was an art school teacher and my father was an interior designer. So we've been relatively open minded as opposed to my conservative maternal side.
I am an Asian designer. I was born in Taiwan. That is who I am. But I am a designer, like any designer of any race. Growing up in the '80s in Taiwan, the arts were not considered a career.
I love working with a set designer because, in many respects, you meet the set designer before you meet the actors. So it's a chance for me as a director to figure out what I'm thinking and to explore how the space is going to actually be activated.
I'm a designer of more than clothes. I am a designer of a very creative concept.
I used the same designer and costume designer on 'The Eagle' and 'The Last King of Scotland.'
I'm a fashion designer, not a shoe designer. I like to design clothes.
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