Creative Web Design Quotes

We've searched our database for all the quotes and captions related to Creative Web Design. Here they are! All 40 of them:

Sometimes time spent reinventing the wheel results in a revolutionary new rolling device. But sometimes it just amounts to time spent reinventing the wheel.
Steve Krug (Don't Make Me Think: A Common Sense Approach to Web Usability)
The true ENTREPRENEUR is a risk taker, not an excuse maker.
VDEXTERS
This points to the more general lesson I took from my WebKit editing work: People matter more than programming
Ken Kocienda (Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs)
Design doesn't mean that every person gonna like, love it . but that's the creativity of those eye which creates something different.
Bijay Chhetri
This is how problem solvers both pitch and sell solutions to businesses every day. They find other people’s big problems and then use their creative skills to come up with a solution.
Rob Anthony O'Rourke ($1,000,000 Web Designer Guide: A Practical Guide for Wealth and Freedom as an Online Freelancer)
Whatever Web 1.0 might’ve lacked in user-friendliness and design sensibility, it more than made up for by its fostering of experimentation and originality of expression, and by its emphasis on the creative primacy of the individual.
Edward Snowden (Permanent Record)
An endless series of gambits backed by gigantic investments encouraged young people entering the online world for the first time to create standardized presences on sites like Facebook. Commercial interests promoted the widespread adoption of standardized designs like the blog, and these designs encouraged pseudonymity in at least some aspects of their designs, such as comments, instead of the proud extroversion that characterized the first wave of web culture. Instead of people being treated as the sources of their own creativity, commercial aggregation and abstraction sites presented anonymized fragments of creativity as products that might have fallen from the sky or been dug up from the ground, obscuring the true sources.
Jaron Lanier (You Are Not a Gadget)
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The cultural divides within the advertising industry became wider when web pages became part of the marketing mix, beginning in 1995. Early web pages were like printed catalogs, and traditional advertising agencies knew how to design catalogs – they were just pictures and words in a different medium, right? The rub was that web pages seemed to clients and agencies more like the domain of software folk, like computer programmers, rather than the domain of traditional copywriters and art directors. An automotive company that wanted to put up web pages to help consumers choose car models and features was more likely to go to a group of programmers than to a traditional agency. The web production costs were exceptionally high, too – the hours spent by web designers and programmers far outstripped the creative hours spent on catalogs. Wasn’t the business of web design (and later, web advertising) a separate business? Traditional
Michael Farmer (Madison Avenue Manslaughter: An Inside View of Fee-Cutting Clients, Profithungry Owners and Declining Ad Agencies)
Examples of projects could include: Projects at work: Complete web-page design; Create slide deck for conference; Develop project schedule; Plan recruitment drive. Personal projects: Finish Spanish language course; Plan vacation; Buy new living room furniture; Find local volunteer opportunity. Side projects: Publish blog post; Launch crowdfunding campaign; Research best podcast microphone; Complete online course. If you are not already framing your work in terms of specific, concrete projects, making this shift will give you a powerful jump start to your productivity.
Tiago Forte (Building a Second Brain: A Proven Method to Organize Your Digital Life and Unlock Your Creative Potential)
capital expenditures required in Clean Technology are so incredibly high,” says Pritzker, “that I didn’t feel that I could do anything to make an impact, so I became interested in digital media, and established General Assembly in January 2010, along with Jake Schwartz, Brad Hargreaves and Matthew Brimer.” In less than two years GA had to double its space. In June 2012, they opened a second office in a nearby building. Since then, GA’s courses been attended by 15,000 students, the school has 70 full-time employees in New York, and it has begun to export its formula abroad—first to London and Berlin—with the ambitious goal of creating a global network of campuses “for technology, business and design.” In each location, Pritzker and his associates seek cooperation from the municipal administration, “because the projects need to be understood and supported also by the local authorities in a public-private partnership.” In fact, the New York launch was awarded a $200,000 grant from Mayor Bloomberg. “The humanistic education that we get in our universities teaches people to think critically and creatively, but it does not provide the skills to thrive in the work force in the 21st century,” continues Pritzker. “It’s also true that the college experience is valuable. The majority of your learning does not happen in the classroom. It happens in your dorm room or at dinner with friends. Even geniuses such as Mark Zuckerberg or Bill Gates, who both left Harvard to start their companies, came up with their ideas and met their co-founders in college.” Just as a college campus, GA has classrooms, whiteboard walls, a library, open spaces for casual meetings and discussions, bicycle parking, and lockers for personal belongings. But the emphasis is on “learning by doing” and gaining knowledge from those who are already working. Lectures can run the gamut from a single evening to a 16-week course, on subjects covering every conceivable matter relevant to technology startups— from how to create a web site to how to draw a logo, from seeking funding to hiring employees. But adjacent to the lecture halls, there is an area that hosts about 30 active startups in their infancy. “This is the core of our community,” says Pritzker, showing the open space that houses the startups. “Statistically, not all of these companies are going to do well. I do believe, though, that all these people will. The cost of building technology is dropping so low that people can actually afford to take the risk to learn by doing something that, in our minds, is a much more effective way to learn than anything else. It’s entrepreneurs who are in the field, learning by doing, putting journey before destination.” “Studying and working side by side is important, because from the interaction among people and the exchange of ideas, even informal, you learn, and other ideas are born,” Pritzker emphasizes: “The Internet has not rendered in-person meetings obsolete and useless. We chose these offices just to be easily accessible by all—close to Union Square where almost every subway line stops—in particular those coming from Brooklyn, where many of our students live.
Maria Teresa Cometto (Tech and the City: The Making of New York's Startup Community)
Very innovative companies, such a Twitter, know how important this type of cross-pollination is to creativity in their businesses, and they make an effort to hire people with unusual skills, knowing that diversity of thinking will certainly influence the development of their products. According to Elizabeth Weil, the head of organizational culture at Twitter, a random sampling of people at the company would reveal former rock stars, a Rubik’s cube champion, a world-class cyclist, and a professional juggler. She said that the hiring practices at Twitter guarantee that all employees are bright and skilled at their jobs, but are also interested in other unrelated pursuits. Knowing this results in random conversations between employees in the elevator, at lunch, and in the hallways. Shared interests surface, and the web of people becomes even more intertwined. These unplanned conversations often lead to fascinating new ideas. Elizabeth is a great example herself; she is a top ultramarathon runner, professional designer, and former venture capitalist. Although these skills aren’t required in her day-to-day work at Twitter, they naturally influence the ideas she generates. Her artistic talents have deeply influenced the ways Elizabeth builds the culture at Twitter. For instance, whenever a new employee starts, she designs and prints a beautiful handmade welcome card on her 1923 antique letterpress.
Tina Seelig (inGenius: A Crash Course on Creativity)
The world of advertising, whose list of sins runs deep, has sinned most by branding these people as creatives, which the world of web design sadly adopted as its own. Calling someone a creative doesn’t elevate. It marginalizes.
Mike Monteiro (You're My Favorite Client)
It’s funny. Before Milo came along, I worried how I’d keep my business ticking over while tending a newborn. Turns out it wasn’t that difficult – or maybe I just stopped caring so much about work; web design was never my creative calling. And when you stare into the slumbering face of a tiny creature so new to the world, it’s amazing how everything else fades. Either way, my life was the perfect balance. I could stay home with my baby, with just enough work to keep my tired brain ticking and feel like something other than a human milk machine. Everyone said how lucky I was.
Leah Mercer (Who We Were Before)
The world of advertising, whose list of sins runs deep, has sinned most by branding these people as creatives, which the world of web design sadly adopted as its own. Calling someone a creative doesn’t elevate. It marginalizes. The label excludes designers from conversations about strategy, product definition, business goals, and metrics. It sets them apart from other employees as people who aren’t bound by the same expectations and requirements. It diminishes their opportunity to be seen as people capable of analytical, rigorous thought.
Anonymous
The Deeply Graphic DesignCast
Wes McDowell (Rock Your Portfolio Website: Pro-tips for Graphic Designers, Web Designers, Photographers & Other Creative Experts)
in your process of gaining awareness and awakening, you are being asked, or rather, you are being empowered to choose love and happiness in your now. For in your now, in every now moment, you are actively creating, manifesting, and drawing to you, your future experiences in life. In this now, the thoughts and beliefs of every member of humanity mix and weave together in an intricate web of creativity by design to create your physical realm. As you begin to shine, to project a more positive vision of tomorrow, releasing fear, focusing on and manifesting love, well-being and happiness in your life, the collective experience slowly begins to change. And this change accelerates as more individuals become empowered and step into their roles, claiming light, living in love, happiness, and joy, and through this, drawing to you more happiness and love.
Melanie Beckler (Channeling the Guides and Angels of Light)
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The most common options include: Ebook apps, which often allow you to export your highlights or annotations all at once. Read later apps that allow you to bookmark content you find online for later reading (or in the case of podcasts or videos, listening or watching). Basic notes apps that often come preinstalled on mobile devices and are designed for easily capturing short snippets of text. Social media apps, which usually allow you to “favorite” content and export it to a notes app. Web clippers, which allow you to save parts of web pages (often included as a built-in feature of notes apps). Audio/voice transcription apps that create text transcripts from spoken words. Other third-party services, integrations, and plug-ins that automate the process of exporting content from one app to another.
Tiago Forte (Building a Second Brain: A Proven Method to Organize Your Digital Life and Unlock Your Creative Potential)
Creativity is not copywriting or art directing, creativity is not interior, graphic, or fashion design, creativity is not mimicry or doodle, is not gesture or token, is not a clever text message, a new and even sillier pair of trousers, or an unmade bed, it’s not your shitty computer music, or your shitty homemade films, or your shitty Web site with a flashing cock. Creativity is . . . creativity is a massive and serious lifetime’s endeavor to further humankind’s fundamental understanding of itself.
Edward Docx (Pravda)
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With a broad brush we can say that there are two types of people in the digital industry. Simon Baron-Cohen defines us as either empathisers or systemisers. Empathisers make decisions based more on feeling, and tend to be more involved on the creative side. Systemisers like evidence and data, and tend to be more technology focused.
Joe Leech (Psychology for Designers: How to apply psychology to web design and the design process.)
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However, in the early phase of software development, it’s possible to shake free of these restrictions, especially when teams are small and the hunt for ideas is still on. This was the scenario when Richard joined us at Apple. We were still looking for an organizing concept to kick-start our web browser effort, and Richard showed us how. Not only that, he proved that a 10x productivity gap is a conservative upper limit on the possible in early stage software. Indeed, Richard did more to move our project ahead in two person-days of work than Don and I had done in the preceding twelve person-weeks. That’s more like a 30x gap.
Ken Kocienda (Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs)
What can explain this difference? On the surface, much appears to hinge on Richard’s programming feat, his software shim. Otherwise, his effort with Konqueror seems much like my struggles with Mozilla. Perhaps he was just a better programmer than me, and without his coding cleverness, there would be no story. That explanation is too simple. Richard made his shim only after determining he needed one last link in a chain of inspiration, intuition, reasoning, and estimation. His shim was a consequence of his overall plan. To show what I mean, here’s an accounting of what Richard did in his first couple of days at Apple. He began by quizzing us on the browser analysis we had done before his arrival, and after hearing it, he quickly discarded our effort with Mozilla as unlikely to bear fruit. By doing so, he demonstrated the self-confidence to skip any ingratiating display of deference to his new manager, a person who had years of experience in the technical field he was newly entering. Next, Richard resolved to produce a result on the shortest possible schedule. He downloaded an open source project that held genuine promise, the Konqueror code from KDE, a browser that might well serve as the basis for our long-term effort. In getting this code running on a Mac, he decided to make the closest possible approximation of a real browser that was feasible on his short schedule. He identified three features—loading web pages, clicking links, and going back to previous pages. He reasoned these alone would be sufficiently compelling proofs of concept. He then made his shortcuts, and these simplifying choices defined a set of nongoals: Perfect font rendering would be cast aside, as would full integration with the Mac’s native graphics system, same for using only the minimum source code from KDE. He reasoned that these shortcuts, while significant, would not substantially detract from the impact of seeing a browser surf web pages. He resolved to draw together these strands into a single demo that would show the potential of Konqueror. Then, finally, he worked through the technical details, which led him to develop his software shim, since that was the only thing standing between him and the realization of his plan. His thought process amplified his technical acumen. In contrast, Don and I were hoping Mozilla would pan out somehow. I was trying to get the open source behemoth to build on the Mac, with little thought beyond that. I had no comparable plan, goals, nongoals, tight schedule, or technical shortcuts.
Ken Kocienda (Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs)
If Don and I had continued working in the Eazel way at Apple, who knows when we would have had a demo to show? At that point in our careers, we simply didn’t know how to bootstrap a big project and set it on a course for success. Richard did. His demo was the lynchpin. He showed us that the Konqueror web browser could work on the Mac. He cut corners to highlight the potential of this code. Of course, Richard’s brilliant software shim made his breakthrough possible, but consider the conceptual framework he’d built around his plan and how he’d cornered all the difficulties of making a browser demo so that one piece of custom programming, his shim, was all that was left to close the circle. The cumulative effect created the illusion of a real browser even when only showing an incomplete portion of one.
Ken Kocienda (Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs)
In deceptively brief terms, Edison tells us: “I make trial after trial until it comes.” He and his team were willing to perspire, but he also knew what he would be doing with all those hours: trial and error. For the lightbulb, filaments were the key, and bamboo was the most promising material, so Edison tested every kind of bamboo to find the best. If Burns is to be believed, there were twelve hundred varieties of bamboo, and Edison tried each one. It sounds simple, and it was, but the way Edison defined the project also gave it a shape. He crossed off items from a to-do list. When we made our porting strategy for the web browser, we turned to something like Edison’s model. We knew the compiler would tell us about broken cross-references, and we examined all of them one at a time. We knew our FIXMEs would tell us where our code was weakest, and we studied the reports closely. Moving toward the Black Slab Encounter was a stepwise process, much like Edison’s search for the best bamboo. Edison did trial after trial with filaments; we went file after file in our build process and FIXME after FIXME trying to load a web page. Both projects were built on unglamorous grunt work, but the specifics matter. Edison wasn’t just trudging toward the horizon in a desert, hoping that the crest of the next sand dune would reveal an oasis—that sounds more like the way that Don and I wandered through our browser investigations in the weeks before Richard joined us. Instead, Edison searched specifically for the best kind of bamboo, and he was undaunted by the need to check a vast number of varieties. Each one he tested was an item crossed off and brought him closer to finding which one was the best. In the lead up to the Black Slab Encounter, we did the same. Even though Don, Richard, and I struggled with the tedium, we kept plowing through each file and FIXME.
Ken Kocienda (Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs)
Don was the one who figured out how we would make our code quick. One day, a month or two after the Black Slab Encounter, he called me into his office and asked me to create a test program to measure browser speed. He envisioned an automated tool that would launch our browser app and command it to load a suite of web pages, one after the other, in rapid succession. Over the next couple days, I wrote the code to do just that. I named it the Page Load Test, but we soon took to calling the PLT.
Ken Kocienda (Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs)
Before the PLT, our editorial process was primarily concerned with feature implementation, bug fixes, and web standards compliance—how well the browser did what it was supposed to do. These were all qualitative measures. The PLT checked for speed, a quantitative test, and it introduced an independent evaluation to every code change we made. Correctness and speed now went hand in hand. Don held that if we heeded the PLT without fail and rejected any code changes that made our code slower, only two things could happen. Either the browser would stay the same speed . . . or it would get faster. He would tap his index finger to his temple to punctuate his explanation of this sneaky logic. From the day the PLT was finished, Don declared, our browser would become faster by never getting slower. It was his Zen koan.
Ken Kocienda (Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs)
Sometimes, in the development of the browser, even our best investigations and “thinking outside the box” ideas weren’t sufficient. There were plenty of instances when we were about to integrate a new feature, only to find that there truly was no way to add the code without a negative impact on speed. As we introduced features like clicking the back button to return you to your previously viewed web page, we found we couldn’t perform the bookkeeping to maintain the previous page at quick readiness without impeding the load of all pages. The PLT showed the slowdown. When we deemed such features too important to skip but couldn’t figure out how to add them without causing such slowdowns, we instituted a trading scheme, where we found speedups in unrelated parts of our existing source code to “pay for” the performance cost of the new features. When we looked around for code to perform this kind of payoff optimization, we typically targeted code we knew well and that was stable, preferably both. Once found, we tuned this proxy code to function the same, only faster, and sufficiently faster that we wound up with either a nil or a positive net impact on performance when we added both the feature-laden code and the speed-payoff code to our project.
Ken Kocienda (Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs)
In the end, these tech talks inspired me more than they directly informed my algorithms. Honestly, much of the math they described was beyond me. I’m not an engineer by training—in fact, I never took a single math course in college. If there ever was an argument that I should have kept studying the subject beyond high school because there was no telling when I might need it, this was it. I was in over my head. Yet I wasn’t completely lost. When Richard Williamson joined Apple and helped us determine the technical direction for our web browser project, he showed that it was possible to make technical headway by skipping past the problems he couldn’t solve in favor of those he could. So, that’s what I did.
Ken Kocienda (Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs)
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However, there is a big difference between what a graphic designer does and what you do as a web designer and what a graphic designer or web designer does. Isabella Di Fabio Both web designers and graphic designers rely on creativity and artistic skill to create designs that customers like. A graphic designer must be able to demonstrate creative excellence with a passion for design. In both cases, both graphic and web design are intended to encourage consumers to make a purchase. However, in web design, consumers are not only viewers of the design, but also users. Another advantage of web design is that the graphic design does not react to the responsive interaction between user and design. With a responsive interface, a web designer will not touch the code in the same way as a graphic designer. Isabella Di Fabio As mentioned above, graphic designers are more involved in the design process than it seems. While most of us can create layouts and wireframes for our websites and we can also design the graphics, a web designer cannot rely on a graphic designer to create the graphics. Although graphic design has some merit for graphics, it is not as important as it may appear in web design.
Isabella Di Fabio
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