Top 1200 Graphic Designer Quotes & Sayings

The graphic novel? I love comics and so, yes. I don't think we talked about that. We weren't influenced necessarily by graphic novels but we certainly, once the screenplay was done, we talked about the idea that you could continue, you could tell back story, you could do things in sort of a graphic novel world just because we kind of like that world.

I was headed in the wrong direction. I didn't think I'd make it to 21. My Uncle Chuck saved my life. He was a graphic designer, and he gave me my first sketchbook. In the front, he wrote, 'Wear it like your underwear.'

To become a painter or a sculptor or a graphic designer is quite an isolated way to spend your life.

I am pretty interested in hybrid forms. I love graphic novels and I think there should be more graphic poems in the world.

In films of terror, it's often not about being graphic. Or if there is a graphic image, it's extremely swift. Everyone talks about the shower scene in 'Psycho,' but that's the only graphic scene in the entire film.

An electrician isn't an opinion former, but a graphic designer is. My argument is that all graphic designers hold high levels of responsibility in society. We take invisible ideas and make them tangible. That's our job.

I did a lot of magic shows growing up. My dad is a graphic designer so he helped me brand myself and create a logo. So I was just rollin' with the magician crowd for a while. But I was really young, 10 to 13, doing table magic and balloon animals at this Italian restaurant.

Perhaps because of my background as a graphic designer, I'm drawn to rich and beautiful colors.

People don't like to say comic so they say Graphic Novel, despite the fact that I don't think the true Graphic Novel has been written anywhere.

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 began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's 'Carmen Jones' and 'The Man With The Golden Arm' and at some point, Otto and I just looked at each other and said, 'Why not make it move?' It was as simple as that.

As both a fine artist and a graphic designer, I specialize in the visual presentation of words.

I've been working on a graphic about carbon emissions. It's an incredibly simple graphic - a bunch of blocks and a table below it - but it's taken me three weeks to design. For some reason it just wasn't working. Then finally I realized there was a number present, which I was rendering in each version, that wasn't necessary for the understanding of the piece. This figure was getting in the way and distracting from the main flow of the narrative. As soon as I pulled that graphic out of the design, it sprang into focus. Suddenly it worked.

I'm a fashion designer, not a shoe designer. I like to design clothes.

Graphic designers should be literate in graphic design history. Being able to design well is not always enough. Knowing the roots of design is necessary to avoid reinvention, no less inadvertent plagiarism.

I'm a severe graphic novels junkie. People ask me about it, and I say I like the graphic novels. Comic books are for kids, and graphic novels are for adults. But you can't really separate the two.

I wanted to be a graphic designer from the time I was 15, without ever having actually met one. I lived in the mid-west, not in a media centre, and I didn't know anyone who did that for a living. It took me a while to find out what that thing I wanted to do was actually called, but once I sorted that out I got really interested in it.

I can think of films that I'm producing right now that are extremely hard-hitting, graphic films, that nobody necessarily wants to see, graphic in terms of violence, of adult content and racial and historical subject matter.

This is the launch of the 'Doctor Strange' film interpretation of - in my view - a classic, which has been interpreted many times by other graphic artists, and this is just our graphic interpretation of The Ancient One. I would say the whole approach is about a kind of fluidity.

A cousin of mine was a graphic designer, and he took me as a kid to see Flesh for Lulu and Social Distortion in 1988 in Chicago.

I have been an art director, a book designer, a book-jacket designer and an interior designer.

You don't have that much choice in your life, which is one of the big lessons I've learned. I was going to be a designer whether I wanted to be a designer or not. So there I was.

No one loves authenticity like a graphic designer. And no one is quite as good at simulating it.

Many people think that being a graphic designer means going to an expensive art school and buying expensive software that will cost you thousands of dollars. This is so far from the truth. There are hundreds of online education centers that offer top-notch graphic design training.

The floating world is the realm of the graphic designer

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.

I read a lot of graphic novels - some of my favorites graphic novelists or artists are Rebecca Kraatz, Gabrielle Bell, Graham Roumieu, Tom Gauld, and Renee French.

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 dropped out of school for a semester, transferred to another college, switched to an art major, graduated, got married, and for a while worked as a graphic designer.

You don't have that much choice in your life, which is one of the big lessons I've learned. I was going to be a designer whether I wanted to be a designer or not.

My father was a German architect and graphic designer, who travelled all over the world, teaching teachers on how to teach. On one such visit to the Max Mueller Bhavan in Delhi, he met my mother.

As a designer, as you get used to Kinect, it's such a different experience for me as a designer - for any 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.

I have to read comic books all first, because now when you get into graphic novels, they are definitely in deep graphic.

I'm sort of like Jean-Paul Goude, the graphic designer who used to style Grace Jones and shoot all her visuals, just meaning that I use all mediums in one - music, fashion, and art. I'm hitting it from all angles.

This is the launch of the Doctor Strange film interpretation, of - in my view - a classic, which has been interpreted many times by other graphic artists and this is just our graphic interpretation of The Ancient One. I would say the whole approach is about a kind of fluidity.

A graphic designer, you know, who understands ideas and understands that ideas are what makes the world go round, could change the world with a magazine. If one talent could do it right now, and everybody would stop saying it's the death of magazines.

Every social media post should have a beautiful graphic. If there are two identical stories, the one with the beautiful graphic will always win.

By the time the child can draw more that scribble, by the age of four or five years, an already well-formed body of conceptual knowledge formulated in language dominates his memory and controls his graphic work. Drawings are graphic accounts of essentially verbal processes. As an essentially verbal education gains control, the child abandons his graphic efforts and relies almost entirely on words. Language has first spoilt drawing and then swallowed it up completely.

My real background was in art studies. At the beginning I was a painter, then I was this graphic designer, then I became an illustrator, then I was a comic artist. But for me it's a different way of expression, a different field of art. They're not separated; everything for me is related.

It's been a bit tricky trying to establish a 'designer' profile and not a designer-cum-girl-around-town.

Being a head designer or art director or just even a designer, you need a certain level of experience and maturity.

I'm an artist, a designer, a craftsman, interior designer, half-architect. There's no one name that fits me very well.

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.

To me, graphic T-shirts are the most important and most expressive format for a designer or a person. Your taste in graphic tees says a lot about your point of view.

My granddad wanted to become a sign painter and designer, but was stopped; my dad would have had a real talent for language, but was stopped. When I expressed a desire to become a graphic designer, I was not stopped.

For someone in an alternative job, an alternative lifestyle, it's very hard to explain what I do. So I sometimes try and dumb it down as much as possible, so I'm changing what I do every time! So sometimes I'm in an Uber, and they ask, 'So what do you do?' and I say, 'I'm a comedian,' or, 'I'm a graphic designer.'

I'm not not a fan of graphic novels, but it's not like one of my pastimes, reading graphic novels.

I'm a designer of more than clothes. I am a designer of a very creative concept.

The challenge is for the graphic designer to turn data into information and information into messages of meaning.

I used the same designer and costume designer on 'The Eagle' and 'The Last King of Scotland.'

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.

I've made a poster at home. You know the iconic image of Che Guevara, the black and red graphic of his face? I think it's the perfect graphic, the best graphic ever made. I cut a Concorde out and put it over his head so it's Che looking up and the Concorde going by. Both are dead, maybe obsolete.

Graphic Design is the communication framework through which these messages about what the world is now, and what we should aspire to. It's the way they reach us. The designer has an enormous responsibility. Those are the people, you know, putting their wires into our heads.

Writing for children, you do bear a responsibility to not include overt or graphic adult content that they are not ready for and don't need, or to address adult concepts or themes from an oblique angle or a child's limited viewpoint, with appropriate context, without being graphic or distressing.

I don't see myself as an artist. I work with artists and collaborate with them, but then it becomes graphic design. It's not an art. I'm a graphic designer.

In Sister Swing, the two sisters have boyfriends and they go to bed with them, but the descriptions are not graphic. They're minimal. The sex is not graphic in the way that DH Lawrence's Lady Chatterley's Lover has all these graphic passages.

I hate this word 'graphic novel.' It is a term publishing houses have created for the bourgeois so they wouldn't be ashamed of buying comics... I'm not a graphic novelist. I am a cartoonist and I make comics and I am very happy about it.

I've always been a visual person, I'm formerly a graphic designer. I've always seen myself as an observer. I like to maintain objectivity and don't get too intimately involved in my subjects.

Personally, I'd never seen a graphic novel. I knew they existed because friends of mine like Jonathan Ross collect them and some very literate and intelligent people really rate the graphic novel as a form.