The design process behind visual outputs and studio management

Multiplo is known for striving to combine the meaning of its projects with a satisfying visual output. How do you manage to balance this approach with the timelines and the client's requirements?

Working with clients from different fields has taught us not to pursue a predetermined style at all costs. If there is consistency in our projects, it stems from the cultural foundation we've developed. Starting from the content of a project comes quite naturally to us; the visual output is a consequence of the initial content, which is translated each time while taking into account the language of the target audience, yet leaving room for our interpretation. The timelines and requirements clarified at the outset are part of the project constraints, but we usually have a fairly direct relationship with the client, so we don't have significant difficulties managing a dialogue that can optimize the result while considering them.

Last year, you presented a meta-project based on the design method, using a parallel with Scopone Scientifico. How does the studio approach new projects? Do you have design phases or key processes that go beyond the specific needs of each project?

Each project has its own peculiarities and constraints; moreover, we are certainly not a studio that designs on an assembly line. At the start of a commission, there is always a phase of research and information gathering, case study analysis, benchmarking, and internal discussions where inputs sometimes come from completely different fields. If it's a new client, this phase naturally takes up more space. Over time, and as projects have grown larger, having a structured process has proven essential. We aim to thoroughly analyze the needs, define the project's boundaries (rules), and optimize the resources available with as holistic a view as possible, considering all potential strategies before choosing the most appropriate one. Once decisions are made, we try to carry the project forward in line with them, which helps avoid wasting resources and usually improves the outcome. In this process, dialogue with the client is crucial, as they can sometimes be a teammate and other times an adversary...

Over the years, you’ve collaborated with cultural institutions. Is this a conscious choice, or did it stem from an internal desire or need to engage with this sector? If so, why?

It’s a result of the background of some of us, which brought in the first clients. In the beginning, we worked almost exclusively in the art and culture sectors. Over time, we realized that this gave us a distinctive mindset and an original approach. We continued working on cultural projects even as we expanded into other fields, which still benefit from a hybrid imagination. The other sectors we work in are mostly adjacent, in terms of language, to art and culture. As a result, we believe this cross-pollination is two-way and beneficial for every client.

In addition to the projects developed for clients, Multiplo has consistently sought to contribute as designers through research and experimentation, even during the Covid period. How does this activity fit into your daily design routine?

Con molta difficoltà! Ci sono momenti in cui i ritmi lavorativi sono più intensi e di conseguenza trovare lo spazio per affrontare progetti di ricerca "pura" non è sempre semplice. La nostra attività di ricerca, ammesso che questa definizione possa delimitare una specifica porzione della nostra attività, ha preso forme diverse negli anni, da collaborazioni con artisti o altri professionisti all'insegnamento, da progetti editoriali autocommissionati alla curatela di progetti per clienti. Ultimamente la parte di ricerca vera e propria si svolge cercando di acquisire commissioni che riservino uno spazio per pratiche diverse dal quotidiano, ottimizzando quindi le risorse. Ci piacerebbe riprendere anche a organizzare eventi pubblici, anche se al momento ci sono alcune complicazioni logistiche, vedremo quali opportunità riusciremo a creare in futuro.

Nel corso degli anni, la vostra realtà si è espansa, ma sempre mantenendo una dimensione 'familiare' di studio, quasi come una boutique. È un aspetto che avete considerato consapevolmente nel corso del tempo?

With great difficulty! There are times when work is more intense, and finding space for 'pure' research projects isn't always easy. Our research activity, if that term can even define a specific part of what we do, has taken different forms over the years—ranging from collaborations with artists or other professionals to teaching, from self-commissioned editorial projects to curating projects for clients. Lately, our research has mostly been integrated by acquiring commissions that allow room for practices beyond the everyday, optimizing resources in the process. We’d like to get back to organizing public events, although there are some logistical challenges at the moment. We'll see what opportunities we can create in the future.

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

With a few exceptions, we believe that the training of young designers in Italy faces some limitations: primarily, it almost completely overlooks the narrative of the relationship with the market and the world of work. Additionally, many schools are tied to outdated frameworks and tend to have a dogmatic approach that poorly aligns with contemporary times and society. However, there are also very reputable institutions that can provide excellent preparation. Certainly, those who are willing and able to structure a virtuous path can do so very well in Italy, without deluding themselves into thinking that any educational institution will have all the answers to their needs and doubts (which does not exist anywhere in the world).

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

The profession of graphic design is changing rapidly, evolving into many sub-professions, and there is less room for the 'pure' graphic designer. For a young designer today, it is more useful to understand contexts, languages, and content than just mastering a specific software. Technical skills are essential, but we believe our profession is increasingly aligned with that of a cultural operator. It has always been somewhat like this, but while in the past one could survive on technical skills alone, it is now and will increasingly be more difficult to do so.

What advice would you give to a young graphic designer entering the job market in Italy today?

Quickly develop an independent mindset, engage with different realities, cultures, and markets. Don’t be afraid to make mistakes or change your mind; do it swiftly and learn from your errors.