Top 1200 Set Designer Quotes & Sayings

I can imagine an automotive designer or an industrial designer building a product in 3D, all in real-time. That's the way a lot of people are going to work in the future.

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.

We've had the same set designer and the same crew in many cases since 1972.

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

Screenwriting you don't necessarily have to do the job of the costume designer and the prop master and the set designer. It's more just about finding the visuals and finding these characters through dialogue.

I feel like there is a different, new energy when I collaborate with a living artist, whether it be a composer, designer, lighting designer. I love that process.

I didn't set out wanting to be a fashion designer from the age of 3. It wasn't that kind of dream.

Where I am from, people are into designer brands, but not, like, the cool ones, just like any designer brand, and I wasn't that type.

Growing up, I wanted to be a fashion designer, which I'm still in school for. Like, that's what I want to be: a fashion designer.

I don't need designer things. And YOU are designer, Rush.

I couldn't get used to the community and social life of a theatrical set designer.

I often compare putting a hotel together to old-time movie production. You come up with a story line, you hire the writer, the director, the stars, the set designer.

If users are not doing what the designer intended (when users are investing time, effort, etc in your product), the designer may be asking them to do too much.

Often when I meet people and say I'm a designer, they say, 'Oh, a fashion designer.' Which is not a bad thing I suppose, a bit groovy.

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

The fossil record implies trial and error, an inability to anticipate the future, features inconsistent with an efficient Great Designer (although not with a Designer of a more remote and indirect temperament)

When you have rules to abide by, does that curtail you as a designer, or set you free? People think of classical architecture visually, but I think the brilliant part of it is actually spatial.

When talking with a set designer the dialogue is more centered on locations, interior design, what I like and what doesn't work. There is a certain taste I'm drawn to and feel inspired by, and finding that inspiration is what keeps the conversation moving forward.

You come up with a story line, you hire the writer, the director, the stars, the set designer.

As a designer, you are not only a designer, you are also a celebrity, an entertainer, and a spokesperson that speaks on behalf of the company. So you need to realize that you have to embrace all those sides.

I have been called an eco-designer simply because I use wood. But I am not an eco-designer, nor does the use of wood make me one. I am a designer who cares about the effect of what I do, and about making good things for people to keep and cherish - that, surely, is simply the basic condition for 'good design'?

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

I wanted to be a set designer when I was young.

I worked for UFA as a set designer, you know.

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.

Just because you are an architect and make decent buildings does not mean that you can suddenly become a set designer for one of the best avant-garde dancers in the world.

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.

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.

Any tendency to design for design's sake, to create a pattern within which the owner must live according to rules set by the designer, is headed for frustration, if not disaster.

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

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

By trying to adjust to the findings that it once tried so viciously to ban and repress, religion has only succeeded in restating the same questions that undermined it in earlier epochs. What kind of designer or creator is so wasteful and capricious and approximate? What kind of designer or creator is so cruel and indifferent? And - most of all - what kind of designer or creator only chooses to "reveal" himself to semi-stupefied peasants in desert regions?

I am thrilled to partner with DSW so I can show people how to get that designer look without the designer price tag.

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.

There's no set designer like your own self; you furnish the mise-en-scène, the wardrobe, the physical proportions of the actor, and the setting. Then radio is doing something that television very rarely achieves.

As great as it is, 'Vogue' won't change a designer's business. But if an unknown brand is worn by a certain person in a tabloid, it will be the biggest designer within a week.

I'm not a designer, nor do I fancy myself a designer.

To invoke the origin of the DNA/protein machine by invoking a supernatural Designer is to explain precisely nothing - for it leaves unexplained the origin of the Designer.

I became a set designer for opera. I'm a great opera buff, I love classical music, and I needed a time-out.

However statistically improbable the entity you seek to explain by invoking a designer, the designer himself has got to be at least as improbable. God is the Ultimate Boeing 747

The important thing is to make something. In reality, it's not important that a designer be known by name - you can remain anonymous. Even the status of a designer will undergo changes, I believe.

I've been very lucky. I've had three separate careers: freelance illustrator, then set designer, puppetteer and animator, and now fine artist. I just bluffed my way into every one of 'em!

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.

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

I became a set designer for opera.

I'm an unbelievable designer. I don't know how I know and just do these things. I just start sketching and then I just know the colors and I always know the forecast. I know green and purple are going to be hot. I was born to be a designer. I worked hard to be a tennis player, I don't work hard to be a designer.

Courtrooms contain every symbol of authority that a set designer could imagine. Everyone stands up when you come in. You wear a costume identifying you as, if not quite divine, someone special.

Playing a fashion designer could be the bane of my existence because I am married to a fashion designer.

What got me really excited about Tylko is the fact that it bridges the gap between tradition and technology. It expands the designer's ability to create a language, to create ideas, to create a set of proportions, a set of details, and to apply those across a really wide range of applications.

You see me, I wanted to be fashion designer. I became fashion designer. So I think that everything is possible.

I don't have a favourite designer because I feel every designer offers something different and special, but I do really like Alexander Wang, Burberry, Stella McCartney and Balmain.

I worked 10 years as a toy designer before I started my career as a fashion designer. It's something I just fell into and really liked.

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.

I don't want to go to the designer that everyone is going to. I want to find a designer that maybe no one's paying attention to... And I'm not afraid to wear something crazy and ridiculous.

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.

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.

We needed to have a great set decorator, a great D.P., a great costume designer, everybody. Without all these people, we would have made a shitty movie.

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

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.