“The highest purpose of a brochure’s cover is to get the brochure opened.
Unfortunately, the front cover of most brochures has a company logo, and some vacuous statement.
(…) Which essentially says, ‘I’m boring inside, you don’t have to pay attention. You certainly don’t have to read me.’
(…) The first job of the message of the brochure is to answer the question ‘I’m the reader. Why should I care?” (pp. 172).

BINELL, Rick, BIELENBERG, John. “How to Build a Grenade”. Communication Arts — Illustration Annual 44. Palo Alto, California : Coyne & Blanchard, Inc. ISBN 0010-3519. 321 (July 2003). p. 170 - 172.

“Greatness is in the details, whatever work we do.”

"Designers are moving beyond design as decoration, beyond choosing fonts and picking colors to demand a place at the table where business decisions are made. If design means business, it’s one place where design can make a difference."

APPLE PRO/DESIGN Online. Stone Yamashita Partners: Beyond Design as Decoration. 2005 [Consult. 8 Setembro 2005] . Disponível em www : URL : http://www.apple.com/pro/design/stoneyamashita/index2.html>

“For him [Edgar Kaufmann Jr.] ‘good design’ was a euphoric concept that equated aesthetic with ‘eye appeal’ and newness with innovation.” (pp. 24).
For Kaufmann, “‘Good Design” stood for the elimination of story telling” says Milton Glaser. (pp. 26).

VIENNE, Véronique. “What’s Bad about Good Design”. Communication Arts. Palo Alto, California : Coyne & Blanchard, Inc. ISBN 0010-3519. 270 (January/February 1997). p. 23 - 26.

"I think I may need a bathroom break? Is this possible."

U.S. President George W. Bush writes a note to Secretary of State Condoleeza Rice during a Security Council meeting at the 2005 World Summit and 60th General Assembly of the United Nations in New York Sept. 14, 2005 [12:08 p.m]

EDITOR & PUBLISHER Online. Reuters Says Bush Photo Not 'Malicious,' Reports Wide Interest at Home and Abroad. 2005 [Consult. 22 Setembro 2005] . Disponível em www : URL : http://www.editorandpublisher.com/

“A rapidez de tudo o que nos rodeia e o facto de o mundo ser já a preconizada aldeia-global, têm como consequência, em termos de consumo de objectos que nos permite viver no espaço que frequentamos, pelo menos duas atitudes distintas. Uma será a aquisição de ‘objectos-rápidos’, com um vector de obsolescência relativamente elevado e um design sediado na triologia económico-estético-funcional, que nos vão permitir mudar e recriar o ambiente em que nos movemos com facilidade; outra é a aquisição de ‘objectos-âncora’ que, por motivos absolutamente pessoais, nos referênciam de alguma forma, por não serem anónimos nem de grande consumo. Nestes dois sentidos, o design será talvez a disciplina que mais próxima está dos tempos que correm e que mais os reflecte.” (pp. 71)

“The speed of everything around us, and the fact that the world became already the so proclaimed global village, result in at least two different attitudes, in terms of consumption of objects that allow us to live in a specific space. One can be the acquisition of ‘fast objects’, with a relatively high obsolescence essence and a design based on a economic-aesthetic-functional trilogy, able to easily change and recreate the environment in which we live. Another is the purchase of ‘anchor-objects’ which, due to personal reasons, do function as a true reference for its owners, as they aren’t anonymous or mass consumption produts. In both meanings, design is probably the subject which is closer to and best represents the present times.” (pp. 71)

GUEDES, Guta Moura. In VALENTIM, Levina — “Experimenta Reflex #1”. Lisboa : Experimenta – Associação para a Divulgação do Design, 1999. ISBN 972-98330-1-X

“Companies may develop the trademark through advertising and by their reputation. In either case, the product is worth more with the trademark than without it. Identification, description and creation of value are just some of the possible functions of a trademark.” (pp. 11)

MOLLERUP, Per — “Marks of Excellence: The history and taxonomy of trademarks”. London : Phaidon Press Limited, 1997. ISBN 0-7148-3838-1

“Trademarks, or devices with the function of a trademark, have existed for at least 5,000 years. Some, such as ceramics marks, continue to be used today; others, such as heraldic marks, are often quoted or paraphrased in modern designs. Even the idea of visual pun on a name was used in ancient canting arms. Historically, trademarks have been primarily ‘senders’ marks, which are more concerned with the person sending them than the receiver.” (pp. 15)
(...) Perhaps, the first ‘graphic’ identification mark was an owner’s mark. It may have been a simple sign that a weapon belonged to a particular man.” (pp. 16)

MOLLERUP, Per — “Marks of Excellence: The history and taxonomy of trademarks”. London : Phaidon Press Limited, 1997. ISBN 0-7148-3838-1

"Nenhuma fórmula mágica torna acessível, em tempo acelerado, bens culturais longamente encerrados numa aura de intangibilidade, a populações cujas competências e disposições culturais lhes são sobremaneira estranhas". (pp. 89).

SILVA, Augusto Santos [et al.] — “Agentes Culturais e Públicos para a Cultura: alguns casos ilustrativos de uma difícil relação”. Cadernos de Ciências Sociais. Porto : Edições Afrontamento. ISSN 0871-0945. 18 (Fevereiro 1998). p. 67 - 105.

“Os objectos, tal como diz Leroy-Gourhan, têm ‘falado’ desde o Paleolítico, expressando, com os seus sinais, a realidade, o carácter, as referências culturais de um povo em cada fase específica da sua história.” (pp. 56)

“As Leroy-Gourhan says objects have been ‘talking’ since the Palaeolithic. Objects talk through their signs, reality and character, these are cultural references of a people in a particular period of their history.” (pp. 56)

MANZINI, Ezio. In VALENTIM, Levina — “Experimenta Reflex #1”. Lisboa : Experimenta – Associação para a Divulgação do Design, 1999. ISBN 972-98330-1-X

“If good design matters to the bottom line, why aren’t designers central to the business process?
(…) We look at design as problem solving, (...) we [Stone Yamashita Partners] go to meetings asking, ‘How can we use design to provoke, bring an idea to life or change the dynamics of a meeting?’ We see design as a way to move the conversation forward.”

APPLE PRO/DESIGN Online. Stone Yamashita Partners: Design Moves the Conversation Forward. 2005 [Consult. 8 Setembro 2005] . Disponível em www : URL : http://www.apple.com/pro/design/stoneyamashita/>

“Today, good has no moral, spiritual or redemptive agenda, good simply means effective. Good means ‘that which sells’.” (pp. 24).

VIENNE, Véronique. “What’s Bad about Good Design”. Communication Arts. Palo Alto, California : Coyne & Blanchard, Inc. ISBN 0010-3519. 270 (January/February 1997). p. 23 - 26.

“A realidade é multicolor.” (pp. 92)

“Reality is multicoloured.” (pp. 93)

PENA, Cristiana — “As Cores de Mariscal”. In VALENTIM, Levina — “Experimenta Reflex #1”. Lisboa : Experimenta – Associação para a Divulgação do Design, 1999. ISBN 972-98330-1-X

“Qualquer objecto pode ser uma obra de arte. Qualquer coisa, mesmo que não seja um objecto, pode ser um obra de arte. (...) deixaram de existir limites formais ou fronteiras objectivas para definir aquilo que pode ou não ser arte.”
(...) “Todos os objectos têm design. Mesmo as coisas que não são objectos têm design. Pensemos na iluminação, design de luz, na coreografia, design deos gestos, na retórica, design da fala. Todos os objectos alguma vez produzidos resultam de um conceito pensado, ou resultam de um determinado sistema de pensamento, mesmo que este não se traduzisse conscientemente em conceitos aplicados à produção de objectos. Tudo é design.”
(...) “Então, porque é que falamos de arte ou de design?
Porque quando dizemos arte ou design, quando chamamos arte a uma coisa ou dizemos que uma coisa tem design, estamos a ganhar uma outra consciência e a dedicar uma outra atenção às coisas que estamos a observar ou a conceber.”
(...) “Uma consciência aberta e disponível, uma atenção entusiasmada e afectuosa, é isso que distingue os momentos em que se produz ou aprecia arte ou design. É isso que os distingue da mera repetição das rotinas do quotidiano, em que passamos pelos objectos e olhamos para as coisas sem as ver, sem pensar, sem sentir.” (pp. 112)

“Any object can be a work of art. Anything, even if it is not an object, can be a work of art. (...) there ceased to be any formal limitations in the definition of what can be considered as Art.”
(...) “All objects have got an element of design. Even things that are not objects have got this element of design. Lighting, light design; choreography, gesture design; speech, design of words. All objects ever created were subjected to a previous concept, or a thought process, even if this did not translate directly into the prodution of objects. Everything is design.”
(...) “Why do we either speak of art and design?
When we mention art or design, calling art or design to something we are gaining a new conscience and paying a different attention towards everything that we observe or create.”
(...) “What distinguishes the moments when we really produce or appreciate art or design is open-mindedness and emotional availability. That is what separates it from the routine of everyday living.” (pp. 113)

MELO, Alexandre. In VALENTIM, Levina — “Experimenta Reflex #1”. Lisboa : Experimenta – Associação para a Divulgação do Design, 1999. ISBN 972-98330-1-X

“Graphic design is still a discipline in search of a hard intellectual basis.” (pp. 8)
“What is graphic design? Is it important?” (pp. 9)

BLACKWELL, Lewis; BRODY, Neville — “G1: Subj: contemp. design, graphic”. London : Laurence King Publishing, 1996. ISBN 1-85669-092-X


“No design is timeless.” (pp. 11)

MOLLERUP, Per — “Marks of Excellence: The history and taxonomy of trademarks”. London : Phaidon Press Limited, 1997. ISBN 0-7148-3838-1

“Call for entries — how we love to hate them. The huge folded posters are invitations to partake in intimidating rituals of assessment and rejection. (…) In our field, we seem to depend on design competitions to define what’s good and bad design.” (pp. 23).

VIENNE, Véronique. “What’s Bad about Good Design”. Communication Arts. Palo Alto, California : Coyne & Blanchard, Inc. ISBN 0010-3519. 270 (January/February 1997). p. 23 - 26.

“O design deverá adoptar uma atitude estratégica assumindo o papel de agente de desenvolvimento local-global. (...) ao enfrentar os processos de globalização, re-localização e em muitos casos a própria desindustrialização, com vista a tornar-se um agente do desenvolvimento local-global, o design terá que alterar a sua própria definição e forma de operar. E deverá, de forma crescente, ser considerado como uma actividade estratégica não apenas para produtos ou sistemas de produtos (vistos como sistemas integrados de produtos, serviços e comunicações), mas igualmente no que diz respeito às formas que poderão tomar as realções entre empresas e a comunidade. Isto é, a forma como a empresa e a comunidade se relacionam ao nível local.” (pp. 86)

“Design activity, today, adopting a strategic approach, could take the role of agent of local-global development. (...) facing the processes of globalization, re-localisation and, very often, de-industrialisation in act today, and in order to become on agent of local-global development, design must change its own definition and its way of operating. And it must see itself, and put itself forward, as a strategic activity whose field of action is not only products, or only products-systems (intended as integrated systems of products, services and communications), but are also the forms which the relationship between firm and community may take. That is, the way in which firm and community relate to each other at a local level.” (pp. 87)

MANZINI, Ezio. In VALENTIM, Levina — “Experimenta Reflex #1”. Lisboa : Experimenta – Associação para a Divulgação do Design, 1999. ISBN 972-98330-1-X

“‘Good Design’ was never good business. (…) It only appealed to a very narrow elite. For the majority of Americans, it was OK to have modern appliances in the kitchen, but in the rest of the house, particularly in the living room, traditional styles prevailed” (pp. 24). Ceramist, Eva Zeisel about design in the 50’s.

VIENNE, Véronique. “What’s Bad about Good Design”. Communication Arts. Palo Alto, California : Coyne & Blanchard, Inc. ISBN 0010-3519. 270 (January/February 1997). p. 23 - 26.

“As formas de expressão cultural são cada vez menos “puras” e cada vez mais produto de fronteira.” (pp. 122)

LOPES, João Miguel Teixeira — As Estatísticas na Área da Cultura: breve reflexão. Sociologia: problemas e práticas. Oeiras : Celta Editora. ISSN 0873-6529. 26 (Julho 1998). p. 121-129

“We have no idea where it’s going to go and we have to get it done in order to find out.” (pp. 31). Interview with Peter Saville.

VICKERS, Graham — “Saville”. Creative Review January 2000. London : Centaur Communications Ltd. p. 27 - 31.

“Apart from serving the purpose of identification, a trademark can also allude to the nature of a company or a product. (...) The name Coca-Cola was coined to tell the customer that the coca leaf and the kola nut are important ingredients of the drink.” (pp. 11)

MOLLERUP, Per — “Marks of Excellence: The history and taxonomy of trademarks”. London : Phaidon Press Limited, 1997. ISBN 0-7148-3838-1

“For decades, public art programs have tried to ‘bring art to the people’; museums and great institutions of leading strive to ‘enlighten the masses’. When all along the ‘masses’ have been doing it for themselves — maybe unrecognized, and in slightly different forms. With guitars and offset fanzines. With kustom kars, surfboards and skateboards”

BYRNE, David. In BLACKWEEL, Lewis — “The End of Print: The graphic design of David Carson”. San Francisco : Chronicle Books, 1995. ISBN 0-8118-1199-9