“Aesthetics are your problem and mine. Nobody else’s.”

— Saul Bass in conversation with designer Archie Boston

“When I was head of the design program at CalArts, I was suffering from bad criticism in the U.S., being called an airhead, and “let’s see if she’s in business in five years,” that kind of stuff. This was “the end of design.” My work was too personal. My “Does It Make Sense” piece for Design Quarterly arose from my own internal chatter and imaginations. I was at a crossroads in my early career. My work in the late ’70s and early ’80s was both infamous and highly acknowledged, contributing to a sort of early fame. At the same time, there was this backlash from the established New York male graphic design community, who were saying it wasn’t graphic design at all, it was fine art. So the chatter—the dialogue, that conversation in my own head—had to do with them saying my work was personal and not real, serious design.

I was going back and forth on what’s personal and what’s public, or what’s a personal agenda versus a client’s agenda. The title, “Does It Make Sense?” was me trying to reconcile with my abilities, my thinking, my skill sets. Did things have to make sense along the rigid line that was being drawn by that predominantly East Coast male community of designers who were twice my age? And in fact, was there a line?”

— April Greiman (via)

"I have great affection for the artist, but at the same time I do not claim to be one—I do not have as much freedom as an artist. Many designers are living with the dilemma of wanting to be a visual artist rather than a good graphic designer."

— Wim Crouwel, RIP

“I admit, I often see students slip into the “Dutch” thing and I work to “beat the Dutch out of them.” Not because I don’t like it, but because they are not living in Holland. They are in Los Angeles. It’s 90 degrees, blindingly bright, and saturated with Mexican, Asian, and South American colors. If you’re in Amsterdam, go for it, not at Zuma Beach.”

— Sean Adams, Going Dutch

“If we valued the history of ideas as much as the history of individuals, if we understood design history in its full economic, political, and social contexts, we would also value more the work of the archivist, the moderator, the facilitator, the teacher, and the producer. And when future educators describe our time, what will they say? Will they again make lists of people, and try to make sure their accounting shakes out okay? Or will they say that we all contributed in making this new world, and talk about how all of our contributions—whether in words, pictures, posts, or spreadsheets—mattered in that making?”

— Juliette Cezzar, Let’s Teach a History of Ideas, Not the History of Individuals (via)