Dieter Rams Quotes

I'm impressed by the way some illustrators develop their images on computers, but it's too late for me to start, and I'm still in love with paper and paint and pencils.

I still love a lot of the guys who just paint.

Everyone was saying computers were going to be the future of art; everyone had to do something in this medium. And it was almost some sort of rebellion that I wanted to do these small, intimate drawings.

Computers are extremely helpful and amazing for a multitude of scientific areas, but for me, when it comes to creation, they are insufficient and slow. Therefore, all of my efforts are to stay away from that beast.

I'm pretty much a dinosaur in the studio. I like things hand-drawn, even today. The story artists use Cintiqs, but I'm the only person who hasn't completely converted to computers. I like the Cintiq, but there's something about the raw emotional power of using paper and pencil.

I am here on Earth to express myself, and the many media of art are my magic carpets that allow me the freedom to do so.

And their pals vote for their stuff when they're not on the panel, and it just keeps going that way. And they tend to be very fringe artists, so anything before the 20th century is not worth considering. This is out of date.

I don't want to write, I'd rather draw.

Some people take pictures; I write songs.

Our appreciation of folk art will strengthen our identities, our pride in belonging to a community. People trained in the creative use of their hands soon acquire skills, excellent craftsmanship which will be the most important measure of how well we can industrialize.

I didn't have any interest in traditional art.

I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc.

The body, in 'La Belle Noiseuse,' was the source of the artist's creativity.

I photograph the things that I do not wish to paint, the things which already have an existence.

I don't want to be a film-maker. I think painting is far more exciting and profound.

I think that some works are more accessible than others.

I did not move into developing or processing color. I stayed with black and white. I still think to this day that I prefer to work in black and white if it has to do with poetry or anything other than specific reality. I have worked in color when I thought it was the appropriate way to express the thought that I was working on.

I'm interested in all kinds of pictures, however they are made, with cameras, with paint brushes, with computers, with anything.

We've lost these qualities, these abilities to do something by hand. Some illustrators have it still, but it's just not art. We have photography. We have cameras and computers that do it better and faster.

We live in an age when the traditional great subjects - the human form, the landscape, even newer traditions such as abstract expressionism - are daily devalued by commercial art.

Art does not, like science, set forth a permanent order of nature, the enduring skeleton of law. Two factors primarily determine its works: one is the idea in the mind of the artist, the other is his power of expression; and both these factors are extremely variable.

I believe in sketching because there is something very sensitive in sketching, you know, in sketches that you don't have out of a computer that looks the same like everybody even if, later on, the dresses are OK, but I like to sketch, and I like to see trails made after my sketches that look the same. It is you know, what I like.

My background was in graphic design, but when I was doing it, it was all hand-drawn stuff, not computers.

Someone who is an artist can say, 'I can create and can make what I create disappear.'

I write with my brain. I don't need a computer.