A Quote by Susan Kare
I don't use work from the past as a literal guide; rather, those artifacts reinforce a view that simple images can communicate with wide audiences over time. Icon design is like solving a puzzle, trying to marry an image and idea that, ideally, will be easy for people to understand and remember.
Related Quotes
As you are working on ideas, you are in a bubble, working on your images. What's important to me in my work, I like this idea of communicating through a piece of art so works don't have to be exchanged. They're okay and they're helpful but most importantly that the image will convey something in my mind that I was trying to communicate and then you have that connection.
There's a structure to a detective story that I can easily understand. I understand playing that particular game. It's like solving a puzzle. Or creating a puzzle.
Some people say they use images to help them remember intricacies. Others say they just remember. If they are able to form an image of the face, it is because they remember how it was: it is not that an image guides memory, but that memory produces an image, or the sense of imaging. We have no agreed way to talk clearly about such things.
Trying to write is very much like trying to put a Chinese puzzle together. We have a pattern in mind which we wish to work out in words; but the words will not fit the spaces, or, if they do, they will not match the design.
Whoever controls the image and information of the past determines what and how future generations will think; whoever controls the information and images of the present determines how those same people will view the past." "He who controls the past commands the future. He who commands the future conquers the past.
My criteria is simple, I require fantastic actors who are ready to give their best and are easy to work with. I don't like people with a lot of baggage and rather those who are simple and straightforward and their agenda is to make a brilliant film.
'Toybox' is that kind of game that will stretch your mental capacity by doing very simple things like solving an easy puzzle of shooting aliens. You'll just need to do everything at the same time to make it through alive. Just to make things tricky, the tasks change every week so you can't get used to any set.
I think that lens flares can work really well under certain circumstances. Personally, I am trying to get rid of them most of the time. I don't like artifacts that draw attention to the surface of the image.
There is no "era" of simple, focused, concept-driven identity design. There is only design that grows out of understanding audiences for specific problems, and that evolves from an idea. This is an approach that does not depend on any specific time period or its technology.
If I look at my work from the beginning it is more the idea of trying to establish a kind of material that one can work with for the future, rather than making nostalgic images to record something that will later become lost.
Mathematics began to seem too much like puzzle solving. Physics is puzzle solving, too, but of puzzles created by nature, not by the mind of man.
Over and over, people try to design systems that make tomorrow's work easy. But when tomorrow comes it turns out they didn't quite understand tomorrow's work, and they actually made it harder.
What ends up happening is people form images and the image they form is, in some ways, what they want it to be. The idea of trying to correct the image is something I'm not interested in doing.
There are usually three sections of people who like my work. There are those who like them aesthetically. They see beauty in the images. Second, there are those who like the horror aspect, which is by design, and I like that. Third, there are those who are moved by the historical or political nature of them. They want to talk about them.
I have wanted to be a fine artist painter, and I reached the point in art schools were I'd like to understand more about images and how images communicate information to people. And I was not getting very far in that from my professors.
I like to talk about the idea of "design without design," where... we're creating the conditions for the things that we want to see happen rather than trying to force a particular set of outcomes.
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