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PROJECTS
Cambridge Creative Encounters
Creative Partnerships is a project that focuses on collaborations between researchers and local further education and higher education institutes with a focus on creative arts. Creative outputs for this category are visual and vary from films, video games, animations, performances, sculpture, graphic design, illustration, or podcasts among others.
I was tasked with creating a brand identity for the event, together with several deliverables that would play an integral part in the exhibition itself. I worked on different sizes of posters (from the more classical formats to something more specific like Signages, Bus, and Bus Stops), Social Media, Presentations, and a Poetry Booklet that was heavily present at the event.
I spent the first part of my process focusing on the idea of collaboration. Of how I could manifest a physical representation between two completely different words. I started playing with colors, textures, and mark-making, creating an intricate and sensible collection of visuals that connects several aspects of science and nature to more abstract and artistic concepts.
We selected a closed number that would constitute our main selection and I, knowing the amount of elements to be expected between text, logos, etc., decided to balance everything with black blocks that will allow the textures to shine and to tie together all the designs.
After the poster and the main idea were agreed I started to adapt it throughout many formats, from a horizontal version of the flyer to a more stretched version of the poster for a bus advertisement. It was a fun challenge.
The Poetry Booklet was a challenge itself since we wanted to theme a bit more the identity around writing, without losing the general feel of the posters. So I tested different markings that could be used to write, letters and such, to highlight the idea of poetry. The design inside of the booklet is more minimal, letting the verse and the poetry inside shine.
I then focused on more digital assets, including social media, background for presentation, and a selection of backgrounds for interviews.
I was tasked with creating a brand identity for the event, together with several deliverables that would play an integral part in the exhibition itself. I worked on different sizes of posters (from the more classical formats to something more specific like Signages, Bus, and Bus Stops), Social Media, Presentations, and a Poetry Booklet that was heavily present at the event.
I spent the first part of my process focusing on the idea of collaboration. Of how I could manifest a physical representation between two completely different words. I started playing with colors, textures, and mark-making, creating an intricate and sensible collection of visuals that connects several aspects of science and nature to more abstract and artistic concepts.
We selected a closed number that would constitute our main selection and I, knowing the amount of elements to be expected between text, logos, etc., decided to balance everything with black blocks that will allow the textures to shine and to tie together all the designs.
After the poster and the main idea were agreed I started to adapt it throughout many formats, from a horizontal version of the flyer to a more stretched version of the poster for a bus advertisement. It was a fun challenge.
The Poetry Booklet was a challenge itself since we wanted to theme a bit more the identity around writing, without losing the general feel of the posters. So I tested different markings that could be used to write, letters and such, to highlight the idea of poetry. The design inside of the booklet is more minimal, letting the verse and the poetry inside shine.
I then focused on more digital assets, including social media, background for presentation, and a selection of backgrounds for interviews.
Digital Spy - Watch This!
“An eye can threaten like a loaded and levelled gun”, said Ralph Waldo Emerson. And indeed the eye is active. A glance or a gaze can convulse us, hurt or caress. The eye responds to the eye: we cannot take our eyes off those eyes hat catch our own as if to compel response. Animals and birds know this if only as instinct. So do those who design film posters. To compel, eyes do not even need a face: caught in the beam of an eye, we are transfixed. Eyes! So powerful and yet so vulnerable.
The Redstone Book of the Eye - Julian Rothenstein
I was challenged with a brief to rebrand the Digital Spy "Watch This" sub-brand (mainly active on YouTube and Instagram), creating a new look and materials to be used according to the occasion. I was inspired by the main brand (Digital Spy) brand pillars and colours, to create a more cohesive product that would feel closer to what was already in place.
I was inspired by the 70s retro illustration style and MTV’s golden era, with their fresh and young look, clearly more in line with the target audience of the branding.
The Redstone Book of the Eye - Julian Rothenstein
I was challenged with a brief to rebrand the Digital Spy "Watch This" sub-brand (mainly active on YouTube and Instagram), creating a new look and materials to be used according to the occasion. I was inspired by the main brand (Digital Spy) brand pillars and colours, to create a more cohesive product that would feel closer to what was already in place.
I was inspired by the 70s retro illustration style and MTV’s golden era, with their fresh and young look, clearly more in line with the target audience of the branding.
What is the Contemporary?
“Through mark-making, we leave behind our traces of existence, immortalizing our
thoughts and feelings on canvas.”
- Edgar Degas
The “What is the Contemporary?” essay inspired me and other classmates so much that we wanted to use this title again for the End of the Year Exhibition. This focused a lot on our point of view. Encouraged us to think about our project and how unique our thought process might be, how this related to “the contemporary,” and why we should be interested in it. Individuality. Point of view. This exhibition would be just a collection of many different paths, ideas, and dialogues coming together. We want to answer a bigger question through our point of view.
_the poster
This is why I started focusing my visual research on things that would include more. That would represent a “coming together” of several people. Duality and individuality at the same time. Throughout this year, I also discovered how mark-making and the “act” of doing something with my hands always created something more organic within the composition. It would make it more real, less stagnant, and not fully digital. Even if, at the end of the day, most of the work is being achieved behind a computer, the feel of something made with hands somehow enriches the final visual with imperfections, small details, and mistakes that also bring the front this individuality that we are trying to feature, through our answers.
I focused on mixing different elements: handwriting, pictures, and font, for the poster, that was the first element of my design. It came together quite easily and informed strongly all the rest of the design assets that I created for the exhibition.
_the catalog
I wanted to feature everyone's individuality at best in their catalog spreads. I focused on a clean and uniform design, modern and with a touch of the orange that is present as the identity of the exhibition. I then, after preparing a first draft of the material, asked everyone to interact with their own material, commenting something about their process, about their text, or just embellishing their work how they see fit, capturing more than a mere collection of pictures of projects, but the essence of the authors itself.
_the catalog essay
After visiting a couple of exhibitions around London, I had the chance to reflect on how to design and incorporate identity in every aspect of this project. This is why I started reflecting on the essay usually required in a book/catalog to present the topic and the scope of it. It’s difficult to explain “contemporary”; it’s challenging to set and explain our point of view of a group of people, trying to avoid doing something too general and keeping the singular voices alive. Individuality, again, is at the center of the stage.
I’ve been aware of AI. I indeed used it for simple tasks like brief descriptions (that needed to be edited anyway) or to have an idea of how something should be written. This sparked a reflection. AI is built with the collective understanding of human input. AI knows the answer because we inform it as is “general” WE. It’s the polar opposite of individuality. AI gives a result based on our collective thinking. Is this why AI also produces the most bland results? The ones are fine because they are non-specific and partially informative. I decided to let the AI write the exhibition prompt for our catalog. Allowing AI to answer “What is the Contemporary?”
From there, I produced a base text that must be edited. But not through a computer, through again digital meaning. Through marginalia, mark making. I am spreading this document with everyone involved in the Exhibition and giving them the power to re-write their version on top of the one they are presented with. Our collective effort will be shown in the outcome. Our voice, our version of it... that might include partially a generic idea of Contemporary, but enough worked through our sensibility to filter all typical nonsense. A collage of the result will be placed on the catalog’s first page and used as an animated video in the exhibition curation to re-iterate our point of view.
thoughts and feelings on canvas.”
- Edgar Degas
The “What is the Contemporary?” essay inspired me and other classmates so much that we wanted to use this title again for the End of the Year Exhibition. This focused a lot on our point of view. Encouraged us to think about our project and how unique our thought process might be, how this related to “the contemporary,” and why we should be interested in it. Individuality. Point of view. This exhibition would be just a collection of many different paths, ideas, and dialogues coming together. We want to answer a bigger question through our point of view.
_the poster
This is why I started focusing my visual research on things that would include more. That would represent a “coming together” of several people. Duality and individuality at the same time. Throughout this year, I also discovered how mark-making and the “act” of doing something with my hands always created something more organic within the composition. It would make it more real, less stagnant, and not fully digital. Even if, at the end of the day, most of the work is being achieved behind a computer, the feel of something made with hands somehow enriches the final visual with imperfections, small details, and mistakes that also bring the front this individuality that we are trying to feature, through our answers.
I focused on mixing different elements: handwriting, pictures, and font, for the poster, that was the first element of my design. It came together quite easily and informed strongly all the rest of the design assets that I created for the exhibition.
_the catalog
I wanted to feature everyone's individuality at best in their catalog spreads. I focused on a clean and uniform design, modern and with a touch of the orange that is present as the identity of the exhibition. I then, after preparing a first draft of the material, asked everyone to interact with their own material, commenting something about their process, about their text, or just embellishing their work how they see fit, capturing more than a mere collection of pictures of projects, but the essence of the authors itself.
_the catalog essay
After visiting a couple of exhibitions around London, I had the chance to reflect on how to design and incorporate identity in every aspect of this project. This is why I started reflecting on the essay usually required in a book/catalog to present the topic and the scope of it. It’s difficult to explain “contemporary”; it’s challenging to set and explain our point of view of a group of people, trying to avoid doing something too general and keeping the singular voices alive. Individuality, again, is at the center of the stage.
I’ve been aware of AI. I indeed used it for simple tasks like brief descriptions (that needed to be edited anyway) or to have an idea of how something should be written. This sparked a reflection. AI is built with the collective understanding of human input. AI knows the answer because we inform it as is “general” WE. It’s the polar opposite of individuality. AI gives a result based on our collective thinking. Is this why AI also produces the most bland results? The ones are fine because they are non-specific and partially informative. I decided to let the AI write the exhibition prompt for our catalog. Allowing AI to answer “What is the Contemporary?”
From there, I produced a base text that must be edited. But not through a computer, through again digital meaning. Through marginalia, mark making. I am spreading this document with everyone involved in the Exhibition and giving them the power to re-write their version on top of the one they are presented with. Our collective effort will be shown in the outcome. Our voice, our version of it... that might include partially a generic idea of Contemporary, but enough worked through our sensibility to filter all typical nonsense. A collage of the result will be placed on the catalog’s first page and used as an animated video in the exhibition curation to re-iterate our point of view.
I Remember When You...
This is Luigi Brandi, my grandma’s older brother, and the inspiration for my Master project.
When he was eighteen, he travelled to Argentina without money. He lived for months in the open-air construction sites he worked on during the day, barely knowing the language. His life moved on, quality of life increased, but it took a long time for him to come back (for a visit) to Italy. A decade. Without easy access to phones, videos, or travel. I felt privileged and almost insensitive after reflecting upon how difficult it must have been for him.
The last time he came back, he knew it was his last time in Italy. I was moved looking at a man gazing at the landscape he grew up in. Knowing that would have been his last time looking at those hills, smelling these scents, feeling the sun the same way. He knew that old age wouldn’t allow him to travel easily again. This is where I started. I contacted my distant family in Argentina for a call, trying to understand beforehand if Luigi was comfortable talking to me and letting me use his story. We agreed to meet, but that project was changed entirely after the interview.
Something happened.
We spoke for hours, trying to go through slowly the list of questions I tried to prepare beforehand. I was shocked, noticing how much I couldn’t remember. He is almost 100 years old, but the story he was so proud to tell anyone (so much so that everyone knew how to answer my question, except for him) wasn’t his anymore. He would remember small details. Scenes from his childhood and landscapes in Argentina would remind him of Italy.
Small things. I loved talking with him, but when we closed the call, I was... sad. The history that all that made him wasn’t his anymore. This affected me so much that I needed to reflect upon this in my work.
I was incredibly fascinated by the pictures that I found at home. I loved having them, looking at them, wondering who everyone was and how their life must have been. I wondered how I could recreate the feeling and how my project could move forward, including them. At first, I wanted to create a book, but the more I worked on it, the more I knew I wanted to leave them pure. To recreate them, edit them somehow, putting them at my project’s centre. I started editing them in different ways, taking the place of Luigi’s memory and mind while doing it. Respectfully.
Playing the role of time is something other than what I aspired to while working on this project. I always wanted to create a space, a reflection. Time is not of the essence here. It doesn’t matter why or how Luigi forgot his memories.
I called this process “the Gentle Removal” for several reasons. The critical exercise in this experiment is to try to remove my uncle seamlessly from every picture. The picture will remain untouched like he was never there. It is supposed to be something real, the actual image or memory, so any other person in the picture must be left there. They do remember. They were there. Luigi is the only one that wasn’t.
Together with the pictures I produced a booklet that wanted to be an outlet, a point of connection between my reflection and the viewer, the product of our collective feelings. It was essential for me to try to collect and cherish not just my memories or those from my family but also allow other people to join a collective tentative of rebuilding their memories, creating a safe space to collect our most cherished moments. To collect who we are.
In loving memory of Luigi Brandi
06/08/2023
When he was eighteen, he travelled to Argentina without money. He lived for months in the open-air construction sites he worked on during the day, barely knowing the language. His life moved on, quality of life increased, but it took a long time for him to come back (for a visit) to Italy. A decade. Without easy access to phones, videos, or travel. I felt privileged and almost insensitive after reflecting upon how difficult it must have been for him.
The last time he came back, he knew it was his last time in Italy. I was moved looking at a man gazing at the landscape he grew up in. Knowing that would have been his last time looking at those hills, smelling these scents, feeling the sun the same way. He knew that old age wouldn’t allow him to travel easily again. This is where I started. I contacted my distant family in Argentina for a call, trying to understand beforehand if Luigi was comfortable talking to me and letting me use his story. We agreed to meet, but that project was changed entirely after the interview.
Something happened.
We spoke for hours, trying to go through slowly the list of questions I tried to prepare beforehand. I was shocked, noticing how much I couldn’t remember. He is almost 100 years old, but the story he was so proud to tell anyone (so much so that everyone knew how to answer my question, except for him) wasn’t his anymore. He would remember small details. Scenes from his childhood and landscapes in Argentina would remind him of Italy.
Small things. I loved talking with him, but when we closed the call, I was... sad. The history that all that made him wasn’t his anymore. This affected me so much that I needed to reflect upon this in my work.
I was incredibly fascinated by the pictures that I found at home. I loved having them, looking at them, wondering who everyone was and how their life must have been. I wondered how I could recreate the feeling and how my project could move forward, including them. At first, I wanted to create a book, but the more I worked on it, the more I knew I wanted to leave them pure. To recreate them, edit them somehow, putting them at my project’s centre. I started editing them in different ways, taking the place of Luigi’s memory and mind while doing it. Respectfully.
Playing the role of time is something other than what I aspired to while working on this project. I always wanted to create a space, a reflection. Time is not of the essence here. It doesn’t matter why or how Luigi forgot his memories.
I called this process “the Gentle Removal” for several reasons. The critical exercise in this experiment is to try to remove my uncle seamlessly from every picture. The picture will remain untouched like he was never there. It is supposed to be something real, the actual image or memory, so any other person in the picture must be left there. They do remember. They were there. Luigi is the only one that wasn’t.
Together with the pictures I produced a booklet that wanted to be an outlet, a point of connection between my reflection and the viewer, the product of our collective feelings. It was essential for me to try to collect and cherish not just my memories or those from my family but also allow other people to join a collective tentative of rebuilding their memories, creating a safe space to collect our most cherished moments. To collect who we are.
In loving memory of Luigi Brandi
06/08/2023
A Reflection on Narcissism
This project focused on describing an -Ism. I loved being able to understand all aspects of Narcissism deeply, trying to find a way to create something new that already has strong visuals attached to it (water, reflection, duality, beauty) and make it mine. I tried to show the duality of the term, highlighting not only the beauty and the confidence but the mental illness attached to it.
I used prisms to edit Peter Lindbergh’s (famous fashion photographer) pictures, photographing them and editing them, trying to represent this distorted aspect of Narcissism through reflection and colours. I created posters with those visuals that I personally consider the most narcissistic expression of graphic design.
I used prisms to edit Peter Lindbergh’s (famous fashion photographer) pictures, photographing them and editing them, trying to represent this distorted aspect of Narcissism through reflection and colours. I created posters with those visuals that I personally consider the most narcissistic expression of graphic design.
The Beauty in Common Things
This project aim was to analyze and understand a subculture (like punk, goth, emo, etc.) and try to create something that resonated with the genre.
I decided to take a look at Cottagecore, analyzing it from a lot of different perspectives (music, books, movies, aesthetics). I also had the chance to interview the lovely @yvonneofgreengables (Italian cottagecore creator) to understand better her point of view.
This is how these images came to be. I decided I wanted to do something with my hands and, after several tests with cyanotypes, and flower hammering, I landed on this technique.
I love the results. I feel this translates perfectly to the nostalgic “dream state” that is intrinsic to the cottagecore aesthetic. The beauty of something frozen in time, something that was and still is, somehow.
I decided to take a look at Cottagecore, analyzing it from a lot of different perspectives (music, books, movies, aesthetics). I also had the chance to interview the lovely @yvonneofgreengables (Italian cottagecore creator) to understand better her point of view.
This is how these images came to be. I decided I wanted to do something with my hands and, after several tests with cyanotypes, and flower hammering, I landed on this technique.
I love the results. I feel this translates perfectly to the nostalgic “dream state” that is intrinsic to the cottagecore aesthetic. The beauty of something frozen in time, something that was and still is, somehow.
Visualizing Music
New Lute Music for Film / Jozef Van Wissem
With this project, I explored creating visuals inspired by music.
I started working with alcohol inks, fast-drying alcohol-based inks that create flowing textures, popularly used in pour painting. The pouring technique and the ink flowing naturally reflected the liute redundancy and the prolonged notes. The unpredictability of the results I obtained each time invokes a sense of eariness, of mystery.
I then added some typography, and created some products that would be useful for an advertising campaign around the album, around concerts, and such.
With this project, I explored creating visuals inspired by music.
I started working with alcohol inks, fast-drying alcohol-based inks that create flowing textures, popularly used in pour painting. The pouring technique and the ink flowing naturally reflected the liute redundancy and the prolonged notes. The unpredictability of the results I obtained each time invokes a sense of eariness, of mystery.
I then added some typography, and created some products that would be useful for an advertising campaign around the album, around concerts, and such.
New Ways of Seeing
Collate, Make, Organise, Edit, and Design
The brief requested the creation of hundreds of different collages. Once I had done this, I selected my favourite pieces and designed a booklet.
The text comes from songs of different Italian bands that I associated with each image because I felt they related on a deeper level.
Although I kept the booklet’s design minimal to avoid taking too much away from the composition, I wanted to produce a wrap-around poster to encase the booklet to make it more interesting.
The brief requested the creation of hundreds of different collages. Once I had done this, I selected my favourite pieces and designed a booklet.
The text comes from songs of different Italian bands that I associated with each image because I felt they related on a deeper level.
Although I kept the booklet’s design minimal to avoid taking too much away from the composition, I wanted to produce a wrap-around poster to encase the booklet to make it more interesting.
Creative Credo Workshop
This results from a week-long workshop (based on a passage from Paul Klee’s “Creative Credo”) composed of many group activities. This is part that I curated personally within my group. The visuals inside and outside of the concertina book are collectively created. Design and realization were curated by me.
While working on the artworks, we got inspired by the surrealist method of Exquisite corpses, trying to work on top of each other, on different posters, to create somehow a reaction to each other markings. Then we would cut every sign and try to build something new out of them, sewing them together to create something that could be even more the results of our collective hands.
I wanted something that would feel like the natural progression of the same idea we had for the artwork. Sawing things together to create more than the individual parts. A discussion that would progress and would be connected to one another. I decided to make an accordion book, also known as a concertina book, constructed with sawing pages. It is composed of a continuously folded sheet of paper that can stand up to view all the pages.
While working on the artworks, we got inspired by the surrealist method of Exquisite corpses, trying to work on top of each other, on different posters, to create somehow a reaction to each other markings. Then we would cut every sign and try to build something new out of them, sewing them together to create something that could be even more the results of our collective hands.
I wanted something that would feel like the natural progression of the same idea we had for the artwork. Sawing things together to create more than the individual parts. A discussion that would progress and would be connected to one another. I decided to make an accordion book, also known as a concertina book, constructed with sawing pages. It is composed of a continuously folded sheet of paper that can stand up to view all the pages.
Oxymorons
These are some of the illustrations I created around the theme of Oxymorons.
This specific style of illustration was a challenge for me. Trying to find the visual representation of a figure of speech, working to make it intuitive and translating almost the fun aspect of it was interesting.
I'm experimenting with colours and textures, even in digital products. This is how I designed these cards, trying to give a physical representation of oxymorons.
This specific style of illustration was a challenge for me. Trying to find the visual representation of a figure of speech, working to make it intuitive and translating almost the fun aspect of it was interesting.
I'm experimenting with colours and textures, even in digital products. This is how I designed these cards, trying to give a physical representation of oxymorons.
Nea Magazine
NEA is an annual digital and printed magazine about Urbino's Academy of Fine Arts and its students.
In 2011 we were tasked by the Director of the Academy to find a way to sponsor the students and the course of New Technologies of Art. This is why, due to the rising use of tablets and phones, we decided to produce both a digital and printed version of the magazine. The "centrepiece" of the publication was a section about students that could feature a digital work (video, audio, photo, or graphics).
Inspiration and Design
The name of the magazine derives from the word neon, from the Greek néon, neuter of néos, "new," "recent," and specifically from its neutral plural nea, "new things", "news." The logo retains the origin of the word in its graphic form. The palette includes black and white and five neon colours. Those are an indication of the relative 5 sections: Academy of Fine Arts (Magenta), NTA (Cyan), VMD (Green), Workshops (Yellow), and Events (Orange). In particular, the colours attributed to the two courses of the School of New Technologies (Cyan NTA and VMD Green) produce the gradient on the cover and colour the individual years of the two courses presented in the yearbook. Moreover, the two courses of study are characterized by two patterns that become more complex from year to year. In the digital magazine, multimedia content, such as photos, videos, and animations, can be viewed directly, in the printed edition, by QR code.
In 2011 we were tasked by the Director of the Academy to find a way to sponsor the students and the course of New Technologies of Art. This is why, due to the rising use of tablets and phones, we decided to produce both a digital and printed version of the magazine. The "centrepiece" of the publication was a section about students that could feature a digital work (video, audio, photo, or graphics).
Inspiration and Design
The name of the magazine derives from the word neon, from the Greek néon, neuter of néos, "new," "recent," and specifically from its neutral plural nea, "new things", "news." The logo retains the origin of the word in its graphic form. The palette includes black and white and five neon colours. Those are an indication of the relative 5 sections: Academy of Fine Arts (Magenta), NTA (Cyan), VMD (Green), Workshops (Yellow), and Events (Orange). In particular, the colours attributed to the two courses of the School of New Technologies (Cyan NTA and VMD Green) produce the gradient on the cover and colour the individual years of the two courses presented in the yearbook. Moreover, the two courses of study are characterized by two patterns that become more complex from year to year. In the digital magazine, multimedia content, such as photos, videos, and animations, can be viewed directly, in the printed edition, by QR code.
Josef Albers Workshop
In this one-day workshop, we were asked to create unique paper structures - the simpler, the better - and to photograph them uniquely to create a scale, magic, and atmosphere.
After a full day of experiments – we picked our favourite pictures to create a set of posters.
After a full day of experiments – we picked our favourite pictures to create a set of posters.
Calzaturificio Montebove
Warmth, Nature, and Wanderlust
In a world brimming with untold stories and uncharted territories, the desire to explore, discover, and wander is an intrinsic aspect of human nature. But wanderlust is not merely about traversing physical landscapes—it is a mindset, a philosophy, and a way of life. It is about embracing the unknown, stepping outside of your comfort zone, and opening yourself up to the transformative power of travel. It is about forging connections, fostering understanding, and finding beauty in the unexpected.
In 2018 I briefly collaborated with Calzaturificio Montebove, a well-established shoe company in Italy that specializes in technical footwear, wanted to expand the market with a more commercial/fashion collection. They created a streetwear shoe line with a large number of variations (both in colour and shape) and I was tasked with creating a new path for their visual communication.
My contribution began with Art Direction and Photography for the Photoshoot of the 2019 Summer Shoes Collection and evolved to include Graphic Design with the ideation of a Catalog/Lookbook for the same collection.
I identified an ideal audience for the company, trying to fill the gaps in research that I felt weren't exausted in the brief and started highlighting some crucial elements that were a common theme for the group of interest. I set the brand pillars and the elements to support that, researched and established visual moodboards to highlight possible future paths to pursue the same brand feeling.
We agreed on a series of packshot pictures in studio to support a more informative catalog and an outdoor fashion photoshoot with models to support communication throught digital media (website and social) and I handled both photoshoot, from a creative and a technical point of view, and after selecting the best representitive pictures, I procedeed to post-produce them to achieve the same look and feel.
The creative direction of the catalog kept the same principles in mind. The brand didn't have a specific guidelines for their identity, so I had the possibiity to look freshly at the colour palette, fonts and overhall style. I did research and moodboard the approach, working with the Calzaturificio Montebove representatives to bring to light our collective view.
In a world brimming with untold stories and uncharted territories, the desire to explore, discover, and wander is an intrinsic aspect of human nature. But wanderlust is not merely about traversing physical landscapes—it is a mindset, a philosophy, and a way of life. It is about embracing the unknown, stepping outside of your comfort zone, and opening yourself up to the transformative power of travel. It is about forging connections, fostering understanding, and finding beauty in the unexpected.
In 2018 I briefly collaborated with Calzaturificio Montebove, a well-established shoe company in Italy that specializes in technical footwear, wanted to expand the market with a more commercial/fashion collection. They created a streetwear shoe line with a large number of variations (both in colour and shape) and I was tasked with creating a new path for their visual communication.
My contribution began with Art Direction and Photography for the Photoshoot of the 2019 Summer Shoes Collection and evolved to include Graphic Design with the ideation of a Catalog/Lookbook for the same collection.
I identified an ideal audience for the company, trying to fill the gaps in research that I felt weren't exausted in the brief and started highlighting some crucial elements that were a common theme for the group of interest. I set the brand pillars and the elements to support that, researched and established visual moodboards to highlight possible future paths to pursue the same brand feeling.
We agreed on a series of packshot pictures in studio to support a more informative catalog and an outdoor fashion photoshoot with models to support communication throught digital media (website and social) and I handled both photoshoot, from a creative and a technical point of view, and after selecting the best representitive pictures, I procedeed to post-produce them to achieve the same look and feel.
The creative direction of the catalog kept the same principles in mind. The brand didn't have a specific guidelines for their identity, so I had the possibiity to look freshly at the colour palette, fonts and overhall style. I did research and moodboard the approach, working with the Calzaturificio Montebove representatives to bring to light our collective view.
Solitudine Positiva
In a world that often moves at a relentless pace, Positive Solitude serves as a gentle reminder to pause, breathe, and immerse ourselves in the tranquillity of our own company. Through their poignant imagery and thought-provoking message, these five posters invite viewers to embark on a journey of self-discovery—a journey that begins with a single moment of solitude.
The video interviews were the core of the project. They allowed me to collect answers and create a connection between the people and their inner selves. I asked each participant the same set of questions, and I asked them to tell me the first thing that came into their head when they thought about being at peace and lonely. From this, I developed a collection of five posters and a booklet. I then reflected on the topic and I created an animated video where I could present myself my idea of positive solitude.
The posters are created with a digital recreation of the double-exposure photographic technique. Through a harmonious fusion of portraits that I curated myself and evocative imagery, each aspect of the poster has been meticulously crafted to evoke a sense of serenity and contemplation.
The video interviews were the core of the project. They allowed me to collect answers and create a connection between the people and their inner selves. I asked each participant the same set of questions, and I asked them to tell me the first thing that came into their head when they thought about being at peace and lonely. From this, I developed a collection of five posters and a booklet. I then reflected on the topic and I created an animated video where I could present myself my idea of positive solitude.
The posters are created with a digital recreation of the double-exposure photographic technique. Through a harmonious fusion of portraits that I curated myself and evocative imagery, each aspect of the poster has been meticulously crafted to evoke a sense of serenity and contemplation.
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