Everything else - music, cinematography, costumes, design, acting - can be judged at face value. But when you're looking at editing, you don't know what the totality of the material was, and you don't know the working dynamic between a director and an editor - whether the editor was micromanaged or given free rein. It's very difficult.
I was interested in virtual reality for several years even before working at USC, it wasn't an interest that started there at all. In fact, when I started working at USC, I already had prototypes of the Rift that were very similar to the final design.
After the Great Depression and after public urging, a nationwide public competition was held to determine a design for a memorial that would honor President Thomas Jefferson's bold vision for westward expansion for America.
I worked in fashion, but I worked more in the sales side of fashion than in design. I was an assistant buyer for a department store back in the '70s and the early years of Saint Laurent. And I used to have a lot of private clients that I bought for.
Well, I never studied design and I went to art school to study art, you know, sculpture and things like that, and ended up making things like sculpture and started making chairs and jewelry together and that's how I started.
I do believe that there are some universal cognitive tasks that are deep and profound - indeed, so deep and profound that it is worthwhile to understand them in order to design our displays in accord with those tasks.
I did not direct my life. I didn't design it. I never made decisions. Things always came up and made them for me. That's what life is.
But active programming consists of the design of new programs, rather than contemplation of old programs.
I don't design for myself. I design something keeping in mind that it has to please a lot of women.
A big part of the fun of working on Superman has been coming up with new characters and concepts to toss in, helping to design their costumes, things like that. And I spent ages coming up with the name 'Fortress of Solidarity,' so I want to get as much use out of it as I can!
And then, build a bustling wonderful city of the 21st century, with a restoration of a spectacular skyline, which Manhattan, of course, needs. So, that is really the design as a whole.
I wanted to create a toolkit which I would have wanted as an entrepreneur to use these principles of psychology in product design. Some startups totally forget the trigger. In some, the action is too complicated. Others don't have a variable reward, which maintains mystery.
I came down successfully through Picasso and Braque, down through Pollock, I guess, but I began to stop at Franz Kline and the Abstractionists. I like their design, brilliant design, marvelous color layers. But I don't find any human content there. I'm from an old school, and painting has to have human content for me.
Golf course design is exciting.
My background was in graphic design, but when I was doing it, it was all hand-drawn stuff, not computers.
In my opinion, no single design is apt to be optimal for everyone.
The design of a dress, furniture, a house, a room, a street and a city are all the same process.
Delay always breeds danger; and to protract a great design is often to ruin it.
I've always wanted to design a Mustang. I just never really had the opportunity in my career because the timing was never right.
Apple's Industrial Design team is harder to get into than the Illuminati, and part of the reason is because no one leaves. In the last 15 years, not one of the 18 designers has ditched Apple for greener pastures.
In just six weeks from the time the design was started, we had the motor on the block testing its power.
Design is a way of life, a point of view. It involves the whole complex of visual communications: talent, creative ability, manual skill, and technical knowledge. Aesthetics and economics, technology and psychology are intrinsically related to the process.
I do very little industrial design. I'm asked a lot, but I certainly don't see myself as an industrial designer.
I always tried to design something new and of the moment. The idea was not to make something that would last, but to make something a woman could really wear when she needed it, like a good friend.
I am extremely involved in the design process of both my brands, Winter Kate and House of Harlow 1960.
We want people to realize you are at a design school, not a land grant college. The way we look says a great deal about who we are.
The i730 combines the familiarity of Windows Mobile software with the innovative design of Samsung that will be a popular choice for mobile professionals.
I do love DVD and I've always taken them seriously. You know, on the Austin things, we really put a ton of work into them because there's so much design involved. And in this one, we thought a lot about it and what could go in.
We tell stories with maps about global warming, biodiversity; we can design more livable cities, track the spread of epidemics. That makes a difference.
Nothing they design ever gets in the way of a work of art.
Well, yes, I mean, I think that, you know, my sources suggest that there's a lot of support for the notion that there is a lot of Koran abuse and that it was very much a systematic design, not just an aberration.
The profusion of fonts is one more product of the digital revolution. Beginning in the mid-'80s and accelerating in the 1990s, type design weathered the sort of radical, technology-driven transformation that other creative industries, including music, publishing, and movies, now face.
I now add, farther, that the apostle's argument is so far from proving it to be the duty of people to obey, and submit to, such rulers as act in contradiction to the public good, and so to the design of their office, that it proves the direct contrary.
Clearly, programming courses should teach methods of design and construction, and the selected examples should be such that a gradual development can be nicely demonstrated.
French design hardly exists, except as artificial modernism.
Write out the story - rapidly, fluently, and not too critically - following the second or narrative-order synopsis. Change incidents and plot whenever the developing process seems to suggest such change, never being bound by any previous design.
