The problem contains the solution.

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.

I wanted to be a graphic designer from the time I was 15, without ever having actually met one. I lived in the mid-west, not in a media centre, and I didn't know anyone who did that for a living. It took me a while to find out what that thing I wanted to do was actually called, but once I sorted that out I got really interested in it.

I'm not an expert in typefaces that serve scientific writing, but I'd guess that's another dozen or two.

We use the word typography to describe two different things: the design of letterforms, and the layout of typeset passages on a page. Both of those experiences are really important to communicating information, especially when that information involves complex ideas.

Australia seems to strike a balance between big and small. It's big enough to have that diversity, but not so big that it disintegrates into something that is not connected.

I believe sans serif typefaces - today upheld as models of neutrality and legibility - were called "Grotesques" in the 19th century because people thought they were hideous. But now we're used to them.