design : page 2 quotes interviews books.........Talent Development Resources -..home page...site map
![[Image]](bluline2.gif){kind=small}
design : page 2 quotes interviews books........
Whether something being useful discredits it as a work of art is very confusing for people--particularly now where there is such an interchange between the two definitions, and where art now has become half electronic.
My idea is, if we simply call it work, we diminish the sort of hierarchy of art, and the priesthood of art, because everybody is trying to control art and make it theirs.
Everyone talks about art as though one has to have some kind of sacred insight into it to collect it, or to show it, or to criticize it. So it's much healthier to do what the Africans do, which is to say: "We don't understand that there is such a thing as art, we just do things the best we can."
So my idea is, that work that is done at a very high level, that transforms, that enriches us, we can call that "great work."
Work that is powerful and expressive we call "good work." And everything else we call "bad work." You just do the best you can, and whether it's art or not is something that history will decide.
Milton Glaser
[LA Times September 2 2001] [photo from miltonglaser.com]
**books:**Art Is Work : Graphic Design, Interiors, Objects, and Illustrations by Milton Glaser
Milton Glaser : Graphic Design
[reader review:] "Milton Glaser means to the history of graphic design what Michelangelo or Arcimboldo
or Leonardo mean to the history of art. In a time when the likes of David Carson or any of the trendy
computer BS designers reign, discovering Milton Glaser should be like a breath of fresh air.He represents a rare breed (almost extinct) of designers who master the craft of casting a good idea
with the appropiate "visual language" in order to get the message across.He stands for excellency in the widest sense of the word. No designer who prides himself/herself
of being one, should continue practising/studying without -at least- flipping through this book.
************************Guggenheim Museum, Bilbao, Spain
I was trained early in my career by a Viennese master to make perfection, but in my first projects,
I was not able to find the craft to achieve that perfection. My artist friends, people like Jasper Johns,
Bob Rauschenberg, Ed Kienholz, Claes Oldenburg, were working with very inexpensive materials
(broken wood and paper), and they were making beauty.These were not superficial details, they were direct, it raised the question of what was beautiful.
I chose to use the craft available, and to work with the craftsmen and make a virtue out of their limitations.Frank Gehry [on the occasion of accepting the Pritzker Architecture Prize]
~ ~ ~ ~
 |
We hired Frank Gehry
either
to design a new campus for us in downtown Los Angeles adjacent to the
Disney
Concert Hall or to rethink our existing campus in Pasadena... I felt
very
strongly that he could design a building that would inspire creative
thinking.
... Architecture has that power -- without a doubt.
Richard Koshalek, President of Art Center College of Design [Architectural Record, August 2000]
|
~ ~ ~ ~
< cathedral: La Sagrada Familia - architect: Gaudi
~ ~ ~ ~
******************
The ancient Maya, who thrived across Mesoamerica thirteen centuries ago,
never developed the wheel for transportation - already in use for some seven
thousand years in Mesopotamia - yet employed it in toys.The Mayan world-view - based in circles and cycles of sky and earth, brought them
the wheel as a toy, a pocket universe which reflected the structure of the whole cosmos.All of our toys, for all of known time, perform the same role of reducing the complex
universe of human culture into forms that children can grasp. I am not saying that children
are simple, unable to apprehend the complex relationships which form cultures, rather, that
toys help the child to guide itself into culture, playgrounds where rehearsals for reality can
proceed without constraint or self-consciousness." Mark Pesce
~ ~ ~ ~
| The opening of Disneyland
in 1955
fixed California in the collective consciousness of a whole
generation--and,
indeed, the whole world--as "the land of America's destiny." Above all,
Disney elevated the pursuit of happiness from an aspiration into a
commodity
to be packaged and sold to what [author Kirse] May dubs "the child
imagination
market."
"By creating a monument to the dreams of youth, Disney offered a privileged model of life for mass consumption," she explains. "He turned his corner of the California world into an international symbol of 'the good life.'" ... [The book] invites us to regard the debut of Disneyland as the first of two defining moments for the baby-boom generation, a dividing line between an open-eyed if sometimes grim view of the world and a more comforting but also delusory one that was sold to us along with movies and music, T-shirts and lunch boxes, housing tracts and fast food. from review by Jonathan Kirsch [LA Times, May 19, 2002] of the book: Golden State, Golden Youth: The California Image in Popular Culture, 1955-1966 by Kirse Granat May |
Annette
Funicello |
~ ~ ~ ~
*******Colleen Atwood -costume designer: "Sleepy Hollow"; "Beloved"; "Silence of the Lambs"; "Mars Attacks!" and others.
"My job is glamorous in that there's travel involved, and you get to see beautiful things
and create things of beauty. On the other hand, the hours are very long. It involves going
to places you've never seen before, you're trudging in the mud, you're dressing total strangers,
and looking out for a lot of people on your staff.Sometimes you're overseeing as many as 20 people on your crew. It is fun and it is glamorous
and I love it - but it's still work. It's not about standing around in designer suits and having people
doing things for you. ///[Tim Burton is your most admired person, professionally. Why?]
"He is able to open himself up to the world, through his own world, which is very unusual.
His work has a very separate and personal voice and it comes from a very true place.
At the same time it's incredibly entertaining."[Los Angeles Business Journal, Feb 28, 2000]
Lynn Pecktal, Tony Walton. Costume Design : Techniques of Modern Masters
~ ~ ~ ~
| Since I did come
from a
industrial design background, I use a lot of industrial design methods
and there was a time when I would actually look and see what was out
there
in the market and gauge where to go based on what existed already. But
I actually no longer do that, really when I create games now, what I
like
to do is start from a blank page.
Start with my ideas there and I like to create an atmosphere that is fun and exciting. I think a lot of game developers feel that they are in competition with everyone and they can't lose and they have to create something that's the best and they give themselves a lot of pressure and a lot of stress. But to me it's all about fun and having fun with what you're doing and creating fun games. Shigeru Miyamoto [from GameCube interview] - Nintendo game designer: Donkey Kong, all the Mario games, and all the Zelda games The Legend of Zelda: Oracle of Seasons ***//***Nintendo 64 Console |
 |
~ ~ ~*********************
*******Toby Gard - inventor of Lara Croft"We all use very powerful subconscious mechanisms to judge people visually, whether we realize it or not.
When you meet someone, the amount of information you gather from them using your eyes is incredible.
You take into consideration their shape, height, sex, race, physical attractiveness, hair, clothing, makeup,
cleanliness, facial hair, age, weight, stance, facial expressions, body language, movements, and so on.You perceive a vast amount of information almost instantly and without really trying. Your brain then begins
to make assumptions about that person using built-in pattern-recognition techniques, most often based on your
personal set of stereotypes. In contrast to these visual cues we pick up on, the slow linear stream of spoken
information is incredibly small.After a while, our opinions may be reformed based on a person's personality, but for a long time it is still
filtered through our preconceptions based on our first impressions.So to create a really good character, you have to control all of the visual clues that people use to judge
each other and establish a clear, unified message to make players interested in -- and ultimately like --
your character." from article: Building Character [Gamasutra, June 20, 2000]~ ~ ~
game:Tomb Raider: Unfinished Business
sites:
Gamasutra - The Art & Science of Making Games
Game Developer "..for creators of entertainment software .. provides technical and industry information.."
~ ~ ~
*related page:**the child self / playing
****************************
"Theater is more minimal and the audience has to fill in the blanks, which I love.
That's its strength, poetry and brush stroke. But in film there is this opportunity
to flesh out the sequences. I want to help people with it, help them understand
the language by supporting it with imagery. I need to show them the experience."Director Julie Taymor - about "Titus" [Seattle Post-Intelligencer article, 1.20.00]
interview: Julie Taymor on making "Titus" and her work as a stage & film director
~ ~ ~ ~The film ['Titus'] is a period in itself. Of course, I've been inspired by Roman
and Etruscan historical references, but [director Julie Taymor] wanted to
create a world of its own, not one that ever existed. ... it's a non-specific period, even the future. ...My team of metal workers and costumers made what we needed from scratch.
We didn't want to go to costume houses, and we didn't rent anything. We had a
big workshop at Cinecitta Studios, and made everything from the armor and weapons
to shoes, to create a look that does not quite exist. It was fun."costume designer Milena Canonero [from interview by Douglas Eby]
dvd:Titus
~ ~ ~ ~
**interviews:
Gelila couture clothing designer
Lois Davidson Gottlieb architect
Kathy Ireland "One of the things that really inspired this home furnishings collection was the trip I took as a child. .. to England. We did the tourist things, and stopped at Windsor Castle... even though it was so tremendous and enormous, at the same time, it had this really warm and collected feeling... That's something I really wanted to capture in the collection: that warmth."
Bob Mackie fashion designer
~ ~ ~
Costume Designers Guild "A costume designer creates the look of a character
in film or television. This requires detailed research and director's vision.
Often, the costumes set fashion trends that inspire fashion designers and impact world culture."
~ ~ ~ ~
**books
: 
...
*******
**