Scott Westerfeld Quotes

At the pinnacle of great design are products so gorgeous and lust-worthy that you want to lick them: a Porsche 911, Samsung's Luxia TV, an Eames lounge chair or anything by Loro Piana.

Every single item that we come into contact with on a daily basis has been designed by an artist. From the toothbrush we use in the morning, to the defibrillator that could save our lives, an artist is behind the design.

I don't particularly follow the Bauhaus school of design, where you make everything into a black box - simplify it.

I didn't think that personal style had much value in graphic design.

The tubular steel chair is surely rational from technical and constructive points of view. It is light, suitable for mass production, and so on. But steel and chromium surfaces are not satisfactory from the human point of view.

If you don't have an emotionally engaging design for a device, no one will care about it.

If you want to communicate something, you'd better make sure that your design piece is well-dressed and that its teeth are fixed. At the same time, I still believe that if it is only stylistically great and it has nothing to say, it still is not going to make a lasting impression on anybody.

I truly believe that we're about to enter a second golden age of design. The first one was in the '50s and '60s, when designers like Raymond Loewy, Charles Eames, George Nelson and Dieter Rams were shepherds of the brands they were working with. They had influence over the products and how companies communicated and promoted themselves.

We knew that iMac was fast; we didn't need to make it ugly.

I would love to design a car. And shoes, like funky Keds maybe.

Some people design buildings and aircraft carriers and cars - and I designed picks.

Good design is a lot like clear thinking made visual.

Attractive things work better.

Design is a career where you learn creative decision making.

The new Zune may not be an iPod killer, but it does offer a clean interface, great industrial design, HD radio, and a subscription model for music, making it significantly less expensive for big users.

If you watched companies such as Sony and Samsung grow, they focused first on features and then on industrial design, which made their products look and feel better.

I think, aesthetically, car design is so interesting - the dashboards, the steering wheels, and the beauty of the mechanics. I don't know how any of it works, I don't want to know, but it's inspirational.

My designs are meant to attract the hand as well as the eye.

Information design has been around since the 1970s. Pioneers like Yale University design guru Edward Tufte and design agency Pentagram have long known and used its power. But now with the rise of the Internet, it's having something of a second birth.

Good design keeps the user happy, the manufacturer in the black and the aesthete unoffended.

I'm an unbelievable designer.

I ended up going to do a matches program at the state for industrial design. And from there, I got hired at IDEO to joint their design team there - and basically, you are starting as an industrial designer to design products - and then kept asking the question, 'What else can design accomplish? What else can design do?'

For me, how an appliance looks is as important as how efficiently it works.

I can imagine an automotive designer or an industrial designer building a product in 3D, all in real-time. That's the way a lot of people are going to work in the future.

In tech, people want an object for what's inside it, what it does. You need to make a defensive design that people won't walk away from. A chair is aggressive - you want a customer to choose it from many others.