“Good design looks right. It is simple (clear and uncomplicated). Good design is also elegant, and does not look contrived. A map should be aesthetically pleasing, thought provoking, and communicative”

Source: Elements of Cartography (1953), p. 318

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Arthur H. Robinson18

American geographer 1915–2004

Paul Rand (1914–1996) American graphic designer

“People think it's this veneer — that the designers are handed this box and told, 'Make it look good!' That's not what we think design is. It's not just what it looks like and feels like. Design is how it works.”

Steve Jobs (1955–2011) American entrepreneur and co-founder of Apple Inc.

As quoted in The Guts of a New Machine (30 November 2003) https://www.nytimes.com/2003/11/30/magazine/the-guts-of-a-new-machine.html <br class="br">2000s

“Good design is also an act of communication between the designer and the user, except that all the communication has to come about by the appearance of the device itself. The device must explain itself.”

Donald A. Norman book The Design of Everyday Things

Introduction to the 2002 Edition, p. xi.
The Design of Everyday Things (1988, 2002)

“It looks like it's from another planet. A good planet. A planet with better designers”

Steve Jobs (1955–2011) American entrepreneur and co-founder of Apple Inc.

Introduction of the first iMac computer in Cupertino, California, (6 May 1998)
1990s

“People think it's this veneer — that the designers are handed this box and told, 'Make it look good!'”

Steve Jobs (1955–2011) American entrepreneur and co-founder of Apple Inc.

That's not what we think design is. It's not just what it looks like and feels like. Design is how it works. <br class="br">As quoted in The Guts of a New Machine (30 November 2003) https://www.nytimes.com/2003/11/30/magazine/the-guts-of-a-new-machine.html <br class="br">2000s

“Clarity or Decision. …without it there is uncertainty, hesitation, obscurity, instability… incomparable with good art. The meaning and object of the design should be clear… it should be frank, as the French say.”

Ernest Flagg (1857–1947) American architect

Small Houses: Their Economic Design and Construction (1922)
Context: Clarity or Decision.... without it there is uncertainty, hesitation, obscurity, instability... incomparable with good art. The meaning and object of the design should be clear... it should be frank, as the French say.

“The strong appearance of design [in nature] allows a disarmingly simple argument: if it looks, walks and quacks like a duck, then, absent compelling evidence to the contrary, we have warrant to conclude it's a duck. Design should not be overlooked simply because it's so obvious.”

Michael J. Behe (1952) American biochemist, author, and intelligent design advocate

" Design for Living http://www.nytimes.com/2005/02/07/opinion/07behe.html", New York Times, 7 February 2005.

“Two developments of the past four decades played crucial roles in establishing a research agenda for the study of map symbolization and design. The first was Arthur H. Robinson's dissertation (published as The Look of Maps in 1952), with its call for objective research, and the second was the adoption in the 1970s of a paradigm of cartography as communication science.”

Alan MacEachren (1952) American geographer

Source: How Maps Work: Representation, Visualization, and Design (1995), p. 2

“Robinson (1952) pointed out some limits to approaching map symbolization and design from a purely artistic viewpoint, as he suggested was the guiding perspective at the time. Maps, like buildings that are designed primarily for artistic impact, are often not functional… Robinson (1952) argued that treating maps as art can lead to "arbitrary and capricious" decisions. He saw only two alternatives: either standardize everything so that no confusion can result about the meaning of symbols, or study and analyze characteristics of perception as they apply to maps so that symbolization and design decisions can be based on "objective" rules… Robinson's dissertation, then, signaled the beginning of a more objective approach to map symbolization and design based on testing the effectiveness of alternatives, an approach that followed the positivist model of physical science. In his dissertation, Robinson cited several aspects of cartographic method for which he felt more objective guidelines were required (e. g., lettering, color, and map design). He also suggested that this objective look at cartographic methods should begin by considering the limitations of human perception. One goal he proposed was identification of the "least practical differences" in map symbols”

Alan MacEachren (1952) American geographer

e.g., the smallest difference in lettering size that would be noticeable to most readers
Source: How Maps Work: Representation, Visualization, and Design (1995), p. 2-3

“When looking at the two streams of research these men produced, it is tempting to characterize Buchanan as a somewhat romantic optimist holding the belief that the pursuits of selfish individuals can be channeled for the common good, if the right set of constitutional constraints are adopted, and believing that individuals are capable of designing constitutions that achieve this goal. Thus, some 35 years after the publication of The Calculus, we find Buchanan, in joint work with Roger Congleton (1998), accepting the fact that legislatures always will adopt the simple majority rule, and trying to design constitutional constraints that will lead to outcomes benefiting all members of the community under that rule.”

Dennis Mueller (1940) American economist

James Buchanan, Gordon Tullock, and The Calculus (2012)

“Good design looks right. It is simple (clear and uncomplicated). Good design is also elegant, and does not look contrived. A map should be aesthetically pleasing, thought provoking, and communicative”

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Arthur H. Robinson18

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