David Carson Quotes

I really don't over-theorize about design. I'd rather feel it than talk it to death. A lot happens as you unroll the design.

One must spoil as many canvases as one succeeds with.

Part of being the successful Pixar is that we will take risks on teams and ideas, and some of them won't work out. We only lose from this if we don't respond to the failures. If we respond, and we think it through and figure out how to move ahead, then we're learning from it. That's what Pixar is.

Design is an iterative process. One idea often builds on another.

I fervently believe in research as a necessity for good design, and I teach it that way.

I tried a dozen different modifications that were rejected. But they all served as a path to the final design.

There's a joy in having the molecule of an idea, then testing it in front of audiences at secret shows that people only know about the night before.

Design is an unknown.

I free-form it, rock n' roll it. I'm a creature of risk, so I don't know how I'm going to explore a Beethoven symphony until I'm doing it.

I feel there has to be a certain amount of improvisation as I'm writing, which means any idea or any commitment to a project is risky. It involves time; it involves gathering of material, and sometimes it just doesn't work. Sometimes it does. As I'm starting out on a project, I can't tell if it will click or not.

I'm really hands-on. My team brings in elements, but, every season, it's kind of a personal struggle to find the balance and to see how far I want to push the elements.

With Fincher, you can take chances and try things. And what happens is that any pretension and preparation you've done, all the square, intellectual work, you can't keep that up for 40 takes. It breaks down, and new things start popping up. This, for me, is the most exciting thing about film-making.

My idea of artistry has always been 'try everything until you find out what works.'

It's just my goal to deliver the best story I can, and I want to make sure each book is better than the last, and in order to do that, I have to take chances.

I don't think that you can invent on behalf of customers unless you're willing to think long-term, because a lot of invention doesn't work. If you're going to invent, it means you're going to experiment, and if you're going to experiment, you're going to fail, and if you're going to fail, you have to think long term.

Sometimes you write songs that don't all fit together. What do you, just throw them away? This might be a chance for growth and learning. It could be a horrible fall-on-your-face kind of experiment.

I have a passion for design. Be it a line of clothes or taking a gut decision with unique pieces of furniture, one should always be willing to experiment.

I think that's kind of the perfect mix, where you do something that you're not sure about, you feel like you're taking a risk, and then you turn around and look at the artists that you're collaborating with and you can read the expression on their face if they like it or they hate it.

For me, as an artist, I think you have to experiment.

The entire making of 'Within and Without' was a series of experiments and trial by error. When I started writing, I didn't have a strong idea of what the record was going to end up like.

I oftentimes say that I design my collections off my phone. I'm in a group chat with my team in Milan. I copy and paste. I draw. I look at trends. I don't really have an assistant. It's a modern way of working. I don't know if it's sustainable, but it's how I do it.

Design, refine and repeat, and keep learning all the way along. It sounds bland and pedestrian, but in fact, it's the reverse.

I think comics do need permission to fail. I think comics do need permission to go up and try stuff.

As an artist, there are times when you need to take a leap of faith... For me, it's important that the gaze is correct.

Defying genre conventions is instantly a risky move.