Michael Bierut Quotes

Not everything is design. But design is about everything. So do yourself a favor: be ready for anything.

No one loves authenticity like a graphic designer. And no one is quite as good at simulating it.

Simplicity, wit, and good typography.

BE PURPOSEFUL AND THOUGHTFUL IN THE CHOICES YOU MAKE WHEN THE OPTIONS ARE NEARLY INFINITE.

If typography is calling attention to itself, it's taking that attention away from what the words are saying.

If you do good work for good clients, it will lead to other good work for other good clients. If you do bad work for bad clients, it will lead to other bad work for other bad clients.

Most processes leave out the stuff no one wants to talk about: magic, intuition and leaps of faith.

Part of maturing as a designer is discovering what you're good at.

Graphic design is the fiction that anticipates the fact.

The problem contains the solution.

Every little job counts. Design counts.

I have a bunch of calendars I used before I went digital. Every once in a while, I'll open up one from 1991 and look at all the names and appointments and things that, at the time, seemed so important. Meetings that I was really worried about, things that I was getting calls four times a day about, and I wonder, "Where did it all go? Where are they now?" It's so strange, everything has disappeared. The only thing that stays behind is the work.

Good typography, first, makes words readable. At its best, it does something more: it helps express the animating spirit of the ideas behind the words.

Target for example, is just a dot with a circle around it, that's all it is, so if you want a logo like Target, you don't need to hire a designer, you barely need to know how to operate a computer program, the logo may as well be anything.

The Nike swash that cost $30 and was designed by a Portland State University art student was probably worth that when she first showed it to them. At that point it had no equity at all. None of the guys commissioning it particularly liked it, they all wanted the Adidas three stripes and they thought that was a good logo.

It's a cliché, but typefaces are really just ingredients.

I had a lot of enthusiasms that were very contradictory, I was never very doctrinaire in the type of design I wanted to do.

I'm always conscious of the context, the history, the specific environment of anything that I design and what it is going to be operating within.

Australia is one of the few places that I can think of where the cities, at least those I've been to, seem to have strikingly different characters and visual textures. To an American like me, there's basically Melbourne, Sydney and Brisbane and the rest is all bush.

I'm not sure about my design work every time.

We get used to things, and we like reading the way we're used to reading.

I think different designers have different points of view and different strong personalities can influence the way certain cities are perceived.

If you can announce the Higgs Boson in Comic Sans, clearly anybody can do anything.

The scientists at CERN were actually surprised that people commented on this. Reportedly Fabiola Gianotti, the coordinator of the CERN program to find the Higgs Boson, was asked why she had selected Comic Sans. She simply said, "Because I like it."

I think once the artistic world of the type designer merged with the scientific world of the computer programmer, you began to see this crossover.

Certain kinds of typeface design and typographic design are designed to persuade: we can make this company look modern if we use a crisp sans serif typeface, or we can make this restaurant look like its been around forever if we use typefaces and layout styles that have been around forever too. But there are other categories, and ballot design is one of them, where the goal should be to be purely functional. There have been notable failures in this category.

The truth about logos is that they are not that hard to do.

I actually don't think that brand new logos are worth that much or mean that much in and of themselves. So why not have a class of third graders compete to design your logo?

A good cook can make something amazing out of even the blandest ingredients. Still, you don't want to eat the exact same dish every day.

The design of the notorious Palm Beach County "butterfly ballot" in the 2000 Presidential election is certainly one of them. But I would say most of the time this is less about a conscious attempt to manipulate an outcome, and more about pure ineptitude.

A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for.

I grew up in a Cleveland suburb called Parma, Ohio. Somewhere along the way I fell in love with a typeface called Bodoni. It turns out that Giambattista Bodoni had his foundry in Parma, Italy. So I pick Bodoni because us guys from Parma have to stick together.

I wanted to be a graphic designer from the time I was 15, without ever having actually met one. I lived in the mid-west, not in a media centre, and I didn't know anyone who did that for a living. It took me a while to find out what that thing I wanted to do was actually called, but once I sorted that out I got really interested in it.

If you look at the Olympic graphics for Mexico or Los Angeles, those programs don't look contemporary by today's eyes but they really look like they are of their place and time.

For instance, I assume those "carrots" we have on our keyboards were there originally to express "greater than" and "less than." Then they were adopted by coders, and now they show up all the time in the way email addresses are constructed. At least I think that's what happened.

The studies I've seen about readability and legibility tend to focus on a specific set of metrics: size, not just the point size, but things like the size of the lower case letters as a proportion of the overall letter height, and line length. People simply can't read really small type set in really long lines.

A simple MS Word document, or a Powerpoint presentation, has its limits, particularly the unpredictability in how the page will actually display. With a PDF, you are locking down all those variables.

I have a really shallow idea about what Australia is.

Sometimes I will give some very vague directions to the designer that I'm working with on a particular project and they'll come back and surprise me with something that really shows a lot of their own 'hand' in it. Other times I'll have a really clear idea about how I want it done and I'll draw it out pretty precisely and say 'make it look exactly like this' and it will be something where it looks like I can say it was 'fully my design'. The work can also range between the two.

Everyone can have an opinion on a logo.

I believe sans serif typefaces - today upheld as models of neutrality and legibility - were called "Grotesques" in the 19th century because people thought they were hideous. But now we're used to them.

Compared with now when almost everyone knows what graphic design is and has some sort of access to the tools to make it, back then, it was really esoteric, you had to quantify it as being 'like commercial art', as one still does in certain circles. It was a strange thing to want to do for a living.

If you ask people in the US what logos they like and recognise, they'll name Target or Nike.

A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for. Maybe you should be trying to come up with something that will really become associated with a moment in time, a few weeks, that happened, period. Then you look back, think about it and connect it with that time. It may look dated later but it will be still be evocative.

Australia has always put out some good design, particularly environmental graphics. I associate that with Australia, more so that a lot of other places. Whether that has anything to do with the landscape, who knows?

I have half a dozen designers who work for me, they 'realise' most of the design work, and I act as the design director and the main point of client contact on each project.

Australia seems to strike a balance between big and small. It's big enough to have that diversity, but not so big that it disintegrates into something that is not connected.

People in the UK will say that the design community in the US is much more coherent than other countries. It has no government support at all, so it's really like a grass roots thing.

Most people have no idea how much goes into designing a typeface. Twenty-six letters in the alphabet, usually with two versions of each, upper and lower case. Punctuation and alternate characters and numbers - let's not forget numbers - can add another 40 or so.

I'm not an expert in typefaces that serve scientific writing, but I'd guess that's another dozen or two.