I love the way my tattoos look. I especially love Japanese-style tattoos and being completely sleeved by them, so it's not just these little individual and unrelated pieces, but everything's working together to create a larger design.
Outside of the chair, the teapot is the most ubiquitous and important design element in the domestic environment and almost everyone who has tackled the world of design has ended up designing one.
I design for the movie and the character as well as the person wearing the costume. I show the ideas to the actor, then do fittings for shape and technical things such as movement in the costume. Once the costume in this form is on the actor, you have a sense of their connection with it. I then take it to the next level with the final fit.
I'm not the expert on the great gameplay. I come in for the character design, monsters, atmosphere. I'm not the technician.
Sometime in the future, I am a hundred percent certain scientists will sit down at a computer terminal, design what they want the organism to do, and build it.
When you design a building, you start from a general philosophy, and you come down, and you start from detail and come up. Only the theoretical architect believes that you can make the concept and then sometime, somebody will come to build it.
A challenge always is good. Normal design does not come under the constraints of a small budget and time frame. But it has helped me to make quick and knowledgeable decisions.
One thing I longed to do was to design a complete look, from head to toe, so I started a make-up line in 1966.
When we design for non-Latin, we always aim to create a rhythm and texture that is sympathetic so when you have the two scripts running side by side, they create, ideally, the same tonal value on the page.
My closet is organized by tops, pants, and outerwear, but not a lot of dresses. Gowns are in another room because I don't often dress formally, even though I design gowns. Like most designers, I have a uniform, and mine is a legging.
Some people have a concept of design: that it should be without the maker. I have been educated in this way, the traditional way. But I am not naive. I know that we make my things, and that people want them. I am signing them - and I am winking at them.
We are very proud of our design for the Transbay Transit Center. This will be a beautiful, functional and sustainable building for San Francisco.
I have an all-Japanese design team, and none of them speak English. So it's often funny and surprising how my ideas end up lost in translation.
We are buying stuff we know we don't need, and that is a problem we should face in design. It starts with creating an object that transports through time a valuable idea: that it can live forever.
We are all sensible that the king and Tisaphernes have caused as many of us as they could to be apprehended, and it is plain they design, by the same treacherous means, if they can, to destroy the rest.
Building design isn't trendy.
I was asked to design the tuxedo for Mr. Peanut. They're rebranding him. That was probably the most interesting request. I didn't spend a long time considering it.
The United States government first learned of the diversion of the W-88 nuclear warhead design in late 1995.
Great design is so many things all at the same time. It is emotional, functional, and responsive. It creates an unwritten dialogue, a connection, between itself and those who experience it. It is open to interpretation yet created for a specific purpose. It creates meaning and value.
I am always updating and coming up with something fresh, whether it's a colour, a trend, or a design, as my uncle always taught me to be unique and different.