I think the obstacles are the same as the opportunities, is the way we like to look at them.

I know that what keeps me interested in my job and in the medium in general that what makes every few months more interesting, or newly interesting every few weeks, is the idea that everything is changing, that the ideas that you think are sacrosanct and unimpeachable suddenly are up for grabs again.

You have to design a story that might appear on the front page of the newspaper for the website. You don't have to design it in such a way that it can be self contained, that it makes sense if you never hit the front page of it.

I think we are in this era right now where every element in a webpage is rendered to within an inch of its life. I think if it's a button, it looks like a physical button, you know, if it's a mailbox that's meant to signal a messaging functionality then the whole mailbox right down to the rivets on the hypothetical metallic housing is rendered.

Things have a behavior online, whereas in print, there is a single canonical expression for them, but online everything responds to different criteria or has inherent states to it based on that criteria. So, you have to design that in a different way. It's a completely different dynamic even though it may look similar.

I think there's a huge - there's a huge desire in me to make sense of the world in a way that I think you can trace back to that early disruption, this idea of wanting to compensate for that really kind of traumatic experience and sort of seeing its impact on my immediate and extended family.

I think there’s a really selfish part of me that wishes I had the tools that I had today in the context of a designer practicing in the middle part of the 20th century when creating a single expression of an idea was the norm.