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I think once the artistic world of the type designer merged with the scientific world of the computer programmer, you began to see this crossover.

Michael Bierut

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Michael Bierut
Age: 54
Designer
Graphic Designer
Cleveland
Ohio
Scientific
Began
Computer
Merged
Type
Crossover
Think
Programmer
Thinking
Programmers
World
Designer
Artistic

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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?
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We get used to things, and we like reading the way we're used to reading.
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Australia has always put out some good design, particularly environmental graphics. I associate that with Australia, more so that a lot of other places. Whether that has anything to do with the landscape, who knows?
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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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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 sure about my design work every time.
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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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When it comes to working on identities, a lot of the time I find myself working with a company that has been around for a while. No matter what they say their goal is, the history and the impression that they have already made in the minds of the public is a real thing that you have to deal with.
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Every little job counts. Design counts.
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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.
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The problem contains the solution.
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The truth about logos is that they are not that hard to do.
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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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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.
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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'm not an expert in typefaces that serve scientific writing, but I'd guess that's another dozen or two.
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For instance, I assume those carrots we have on our keyboards were there originally to express greater than and less than. Then they were adopted by coders, and now they show up all the time in the way email addresses are constructed. At least I think that's what happened.
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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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The scientists at CERN were actually surprised that people commented on this. Reportedly Fabiola Gianotti, the coordinator of the CERN program to find the Higgs Boson, was asked why she had selected Comic Sans. She simply said, Because I like it.
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