Chip Kidd Quotes

I won't go anywhere near the new Times Square. It's seizure-inducing.

I try to do a lot of asymmetrical, triangular compositions - I find those work really well for comic book covers in that portrait mode, and I don't always see that in other artists.

It's claustrophobic, and I think it is to do with the amount that we're exposing people to one particular point.

In the course of our daily lives, we're bombarded with a barrage of visual messages, some blatantly aggressive, some subtle. The trick is to find a way to break through without adding to the clutter and the ugliness. We have to be responsible about that.

I was not a comic book kid.

It's not movies and it's not "fine art." The beauty of a comic is that it's clear, direct communication. My work is getting simpler and more cartoony because I'm much more interested in communication now than in any illustrative value.

For years I thought I was just a writer, but when I sat down to design and started playing around with it, I realized that, really, it's pretty easy. Obviously it's more than just a set of rules, but the basics of design are actually pretty simple and quite mathematical. The link between data and design works at quite a fundamental level.

If you are explaining, you're losing. It's a bumper sticker culture. People have to get it like that, and if they don't, if it takes three seconds to make them understand, you're off their radar screen. Three seconds to understand, or you lose. This is our problem.

Overload 'em with information an' they'll kill yeh jus' to simplify things.

I rolled back onto the lawn and pressed my forehead to the ground again and made the noise that Father calls groaning. I make this noise when there is too much information coming into my head from the outside world. It is like when you are upset and you hold the radio against your ear and you tune it halfway between two stations so that all you get is white noise and then you turn the volume right up so that this is all can hear and then you know you are safe because you cannot hear anything else

The more you know the less the better.

The shapes of letters do not derive their beauty from any sensual or sentimental reminiscences. No one can say that the O’s roundness appeals to us only because it is like that of an apple or of a girl’s breast or of the full moon. Letters are things, not pictures of things.

... and you can only have 2 or 3 things everyday, because everything else will just come at you; you know fires in a day.

Everything was too sharp and clear, so that I could never tell where to start- the way a map that shows too much can sometimes be useless.

This is an age of intellectual sauces, of essence, of distillation. We have conclusions without deductions, abridgments of history and abridgments of science without leading facts. We have animals for literature, Cabinet Encyclopaedias, Family Libraries, Diffusion Societies, and heaven knows what else! What is all this for? Not to add knowledge to the learned, but to tell points to the ignorant, without giving them the trouble to acquire the links. Oh! it is sad work. And the result will be injurious to all classes.

I'm happy to provide that service. But that's the power of it. A good infographic that's been really worked on looks simple and easy, but it actually required a lot of processing.

In times like ours, where the growing complexity of life leaves us barely the time to read the newspapers, where the map of Europehas endured profound rearrangements and is perhaps on the brink of enduring yet others, where so many threatening and new problems appear everywhere, you will admit it may be demanded of a writer that he be more than a fine wit who makes us forget in idle and byzantine discussions on the merits of pure form.

The modern world’s tech-giddy control and facilitation makes us stupid. Awareness atrophies. Dumb gets dumber. Lists are everywhere – the five things you need to know about so-and-so; the eight essential qualities of such-and-such; the 11 delights of somewhere or other. We demand shortcuts, as if there are shortcuts to genuine experiences. These lists are meaningless.

Perhaps the artist who seeks dignity above all in his 'historia', ought to represent very few figures; for as paucity of words imparts majesty to a prince, provided histhoughts and orders are understood, so the presence of only the strictly necessary numbers of bodies confers dignity on a picture.

In this day and age, there's just so much that can hyperstimulate us, and curiously, it is not satisfying us.

If your life is in harmony, then your life is full and good, but not overcrowded. If it is overcrowded, you are doing more than is right for you, more than is your job to do in the total scheme of things.

Clutter and confusion are failures of design, not attributes of information.

For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. It is by economy of means that one arrives at simplicity of expression.

As for the clarity of the 48 frames, I've heard people say that it looks odd, it's too demanding, there's too much information, you don't know where to look.

Our Adversary majors in three things: noise, hurry and crowds. If he can keep us engaged in "muchness" and "manyness," he will rest satisfied.