You’ve produced editorial artwork for several magazines, including PRINT, Metropolis and Wired. How are those projects different from say, designing a logo or a typeface?
In a lot of ways, they’re actually very similar. I approach every project systematically, and develop a set of rules that will help me make something consistent and interesting. With a typeface I’m considering all the angles, lines and transitions which will create a kit of guiding principles that direct every decision. The same is true in a logotype or a diagram or a publication, I try to develop a system that is robust and interesting enough to carry all the parts of the design in a successful manner.