I grew up in a Cleveland suburb called Parma, Ohio. Somewhere along the way I fell in love with a typeface called Bodoni. It turns out that Giambattista Bodoni had his foundry in Parma, Italy. So I pick Bodoni because us guys from Parma have to stick together.

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.

If you look at the Olympic graphics for Mexico or Los Angeles, those programs don't look contemporary by today's eyes but they really look like they are of their place and time.

I actually don't think that brand new logos are worth that much or mean that much in and of themselves. So why not have a class of third graders compete to design your logo?

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.

We get used to things, and we like reading the way we're used to reading.

Most processes leave out the stuff no one wants to talk about: magic, intuition and leaps of faith.