Good typography, first, makes words readable. At its best, it does something more: it helps express the animating spirit of the ideas behind the words.

I'm always conscious of the context, the history, the specific environment of anything that I design and what it is going to be operating within.

If typography is calling attention to itself, it's taking that attention away from what the words are saying.

The problem contains the solution.

A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for.

I have a bunch of calendars I used before I went digital. Every once in a while, I'll open up one from 1991 and look at all the names and appointments and things that, at the time, seemed so important. Meetings that I was really worried about, things that I was getting calls four times a day about, and I wonder, "Where did it all go? Where are they now?" It's so strange, everything has disappeared. The only thing that stays behind is the work.

It was 4 or 5 years into my first design job before the idea of doing graphic design on computers started taking hold. I started working in 1980, the Macintosh was introduced in 1984, then the real desktop publishing only started coming around in 85-86, but it wasn't really until the end of the decade that the transition became irresistible.