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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.

Michael Bierut

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Michael Bierut
Age: 54
Designer
Graphic Designer
Cleveland
Ohio
Looks
Mexico
Really
Contemporary
Time
Program
Like
Eyes
Eye
Graphics
Place
Olympic
Today
Angeles
Look
Programs

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I've never really acquired any facility for working on the computer, though one day I think I would like to. My generation just barely missed it, which I don't think is a good thing or a bad thing.
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I'm not an expert in typefaces that serve scientific writing, but I'd guess that's another dozen or two.
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If you ask people in the US what logos they like and recognise, they'll name Target or Nike.
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Most processes leave out the stuff no one wants to talk about: magic, intuition and leaps of faith.
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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.
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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.
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There was a time when most people had a choice between two kinds of personal communication, handwriting or using a typewriter. Today, people are invited to choose from a list of (surprisingly exotic) typefaces every time they turn on their computer. I think this has made everyone more aware of the idea that picking a typeface is a conscious choice.
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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.
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If typography is calling attention to itself, it's taking that attention away from what the words are saying.
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We get used to things, and we like reading the way we're used to reading.
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Designs that have a whiff of complex impenetrability tends to suggest big, complicated ideas. Academic writing tends to work the same way, I understand.
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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.
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Simplicity, wit, and good typography.
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Graphic design is the fiction that anticipates the fact.
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I've heard some designers talk about the design process being centred on invention, starting with a blank slate. I admire that and occasionally I'm capable of that, but I have to admit that I really have trouble working with completely open briefs.
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I had a lot of enthusiasms that were very contradictory, I was never very doctrinaire in the type of design I wanted to do.
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I think that you could design a terrible logo for a good company with great people and they could build it into a great program. Alternatively you could design what seems to be a brilliant logo for people who are not smart or energetic or are incapable of associating with anything positive and it would become a terrible logo.
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The studies I've seen about readability and legibility tend to focus on a specific set of metrics: size, not just the point size, but things like the size of the lower case letters as a proportion of the overall letter height, and line length. People simply can't read really small type set in really long lines.
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Australia is one of the few places that I can think of where the cities, at least those I've been to, seem to have strikingly different characters and visual textures. To an American like me, there's basically Melbourne, Sydney and Brisbane and the rest is all bush.
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