The type foundry as a new dimension of dynamic and cross-activity studio

What is your opinion on the increased appreciation and attention given to type design in recent years?

I believe that those working in the field of communication have always valued and paid attention to typography. I would rather speak of greater accessibility or visibility, which have consequently sparked curiosity and a broader debate on the subject.

What were the main reasons behind your decision to leave your previous studio (Think Work Observe, now Multi-Form, editor's note) to focus entirely on your type foundry, Formula Type?

Running a type foundry requires a lot of work, and at a certain point, I felt the need to dedicate more time to it. I wanted to make it a more comprehensive, professional experience, focusing more on the entire creative process.

Considering that in the past the typographer was seen as a craftsman and today the same role can be said to be covered by the type designer, how do you identify yourself in the role of the craftsman in a context increasingly dominated by digitization and business aspects?

I wouldn't want to fall into the trap of nostalgia. The analog vs digital antagonism is not a theme that interests me, and the creation of something is always artisanal, whether it's done by hand or digitally. The aspects to manage then intersect, promotion, collaborations, design, general project management, are all things that make up the daily work.

One of the significant changes caused by COVID-19 is the fluidity in the concept of studios or agencies. With your collaboration with type designers from all over the world, how would you describe your current perception of your studio, your workshop, or your foundry?

I have always questioned what physical space I need to work. In the past, I have experimented with a home studio and remote work. Obviously, after COVID, this issue has become the subject of strong reflections. Acknowledging that the dynamism of remote work allows for a certain independence, I am also fascinated by the studio/workshop as a place to work and experiment daily.

Considering that type design is still a discipline lagging behind in Italy compared to other European countries, what actions do you think can be taken to bridge this gap and keep up with others?

In Italy, there are emerging very interesting initiatives both at the educational and professional level. What might be lacking, and what I have also experienced as a graphic designer, is a certain difficulty in engaging in dialogue and sharing (I criticize myself as well, of course). It would be interesting to try to build a more cohesive "movement" that engages in more dialogue and exchange of ideas.

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

It seems to me that in the last decade the offer has improved, both in terms of quality and quantity.

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

I see the role of a young graphic designer evolving in parallel with the development of the industry and the continuously evolving demands, thus as a role in continuous evolution that necessarily needs to engage with the available technologies and tools.

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

I consider advice to be very personal and specific. In general, I would say to set small goals for yourself and reassess your ambitions from time to time.