You began your collaboration by working at night, on projects that went beyond the studio where you were (Studio FM ndr), what prompted you to start this journey? Did you ever expect to get this far?

We loved designing so much, and we loved doing it even more together. But in this case, there wasn't a project; it all started without a plan. We would meet up after work, chat, and have fun.

In your work, one perceives the in-depth research you conduct before achieving the final result, as seen in the @archiviometodico channel. How important is research and experimentation, including manual/analog, in your design process?

Indispensable.

When we start a project, we always strive never to imagine anything beforehand to avoid influencing the final result. Otherwise, during the study and research phase, we risk not seeing certain things, discarding them because they don't fit into the scenario we had imagined.

Then sometimes, if it seems conceptually appropriate, we decide to explore the manual/analog component as well. Among mistakes and mishaps, with our eyes wide open, interesting ideas can emerge.

When starting a project, do you follow a particular process? How do you set up your workflow? Also considering the other collaborators in the studio.

Each person in the studio is responsible for one or more projects, but the research and concept phase is collective. We discuss, exchange ideas, and the initial presentation to the client is usually shared with everyone. Then, once the direction to follow is identified, we proceed more or less autonomously.

Your online presence, both through the website and Instagram account, is distinctive and clearly conveys your personality. How do you use these tools to communicate and express your identity?

We try to showcase the projects for what they are, without putting too much effort into it. However, we admit that we don't work on it with much attention.

If you could decide to undertake any project, what type of project would you want to do and why?

[Onofrio] Definitely the telephone directory and the Yellow Pages. They are examples of very complex work in which the graphics did everything not to be seen and to be at the service of the function. The final result had to be very practical and, above all, it was an object present in every home.

[Valentina] A wall-hanging paper calendar. Graphics, paper, packaging, and function all in one project.

How do you see the world of design education in Italy?

Certainly, in recent years, design education has become more consolidated, especially as communication design has started to be recognized not only in major cities but also in provincial areas. Our field is something that young people are eager to learn, with a high demand and consequently, a lot of supply. However, it seems that in some schools, teaching the craft focuses solely on teaching the tools, but it would be important never to lose sight of the project, understood as thought, method, and design.

How do you see the role of young graphic designers in Italy?

A role of responsibility. Graphic design greatly influences the visual landscape, and in Italy, there is a great need for attentive and curious perspectives capable of recognizing the countless inspirations that come from our culture and reworking them, renewing them.

What advice would you give to young graphic designers entering the workforce in Italy today?

In Italy, our work as designers is not yet fully recognized, both economically and politically. It's not easy to pursue it seriously, and compromises are necessary, especially in the beginning.

However, if you're truly passionate about it, if wealth isn't the main goal, you can receive many gratifications that motivate you to continue.