Eva Zeisel Quotes

I think it's really important to design things with a kind of personality.

When I design, I think about the desire someone might have for it and why. I want them to fall in love with it.

The design should make the product speak to you.

I think that it drives from an emotional connection with everybody that pulls you through all of those events, whether it's the events or what would be more the action, or I guess the visual effects side of it. So it always starts with me from - emotionally - 'Why do you care about the people who are going through what they're going through?' Because it takes a hell of a lot to put them through that. So you better care for them when they're doing it.

I try to get a feeling of what's going on in the story before I put it down on paper, but actually most of this breaking-in period is one long, fantastic daydream, in which I think about anything but the work at hand. I can't turn out slews of stuff each day. I wish I could. I seem to have some neurotic need to perfect each paragraph—each sentence, even—as I go along.

I think of making love and making art as being very parallel. Even the most amateur attempt can be thrilling.

They dream of men with gentle hands, eloquent with tenderness, fingers that brushed along a cheek, that outlined open lips in the lovers' braille. Hands that sculpted sweetness from sullen flesh, that traced breast and ignited hips, opening, kneading. Flesh becomes bread in the heat of those hands, braided and rising.

I think Grace [Dunham] and I are always working from a personal place, and the fact that these were issues that we'd been talking about in our own families really clicked, but also Jason's [Benjamin] passion about it and his clear sense that this was going to be something emotional and remarkable to watch. It was very hard not get excited about it and want to help in any way we could.

When you saw me with a dagger in hand - as if to throw at you - you didn't call for your guards. You didn't fear I was here to kill you. You looked over your shoulder to see what I was aiming at. That's the most loving gesture I think a man could receive from a woman. Unless you'd like to sit on my knee for a while.

I know "accessibility" is a term that's kind of thrown around wantonly today, especially with talking about visual media. But I think that the strength of comics [is how they] really allow you to transcend those last barriers between a reader absorbing the information of an experience, and a reader being able to project themselves into the [experience of the] people about whom they're reading.

Most people make the mistake of thinking design is what it looks like. People think it's this veneer - that the designers are handed this box and told, 'Make it look good!' That's not what we think design is. It's not just what it looks like and feels like. Design is how it works.

I think best with a pencil in my hand.

I'm often moved by the circumstances around some of my characters, but I don't think I've actually cried watching myself.

I-" said Nick, his voice halting. "I don't mind it as much when - when people touch me. Some people." Mae looked down, and Nick, who looked more relaxed when he'd been stabbed, slowly lifted his hand from his chest and laid it on the tumbled sheets between them, fingers half-curled into his palm. He was still regarding the ceiling with a fixed glare. "Because you trust them not to hurt you?" Mae asked tentatively. "No," Nick said, his voice harsh. "Because I'd let them hurt me.

Since when has the world of computer software design been about what people want? This is a simple question of evolution. The day is quickly coming when every knee will bow down to a silicon fist, and you will all beg your binary gods for mercy.

Art should create an experience.

I think in a lot of ways, writing, when you're really in there, is like being an actress because you're in somebody else's head.

When anything important has to be written ... I think your hand concentrates for you.

But I think if it's the right person, you wouldn't have to work so hard at intimacy. I think—hope—it would just happen naturally. Otherwise, opening up to the wrong person..." I made a face. "Like putting ammo in their hands.

I stay away from the writing part because I think that if it sticks, it sticks. You just know it. The stuff that doesn't stick, goes away. The stuff that propels you forward, you can see it in your partner's eyes.

Whatever the source of emotion that drives me to create, I want to give it a form which has some connection with the visible world, even if it is only to wage war on that world....I want my paintings to be able to defend themselves to resist the invader, just as though there were razor blades on all surfaces so no one could touch them without cutting his hands.

My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.

The word design is everything and nothing. The design and the product itself are inseparable.

I think sometimes maybe you're going to connect with the audience more than others, but the journey is about getting all there is to get out of this group of people.

If it bothers me on the page, I don't do it. If it attracts me on the page and moves me, makes me think a bit, makes me laugh, makes me cry, I'm interested in it. If it's there on the page, it means it's there and up to me to bring it out. I have done some films along the way that have been screwed up and not as good as they read. Some films that are not that good on the page turn into good movies. So I'm fallible is what I'm saying.