Modern Italian Graphic Design by Domenico Colace

modern italian graphic design Where has it gone?

by: Domenico Colace

Modern Italian Graphic Design

modern italian graphic design Where has it gone?

by: Domenico Colace

This book was created as a requirement for the MFA I students at Boston University. Project 5. Design A-Z, was the final project for MFA I Fall Studio course. The purpose of the project was to be a design activist and curate a design history reader. To research an under-known design population and develop a point of view to drive your curation. Then define who is the Other and in what way have they been marginalized. How can you dethrone absolutes and shatter the familiar with your curation? How can you rethink the needs of the audience to whom you speak? The typefaces used in this book come from Italian designer Danilo De Marco. They are Aganè (2017), K95 Alphabet (2018), and Herbert (2019) designed for Studio K95 in Catania, Italy. The dimensions of the book are 6” x 9”.

Table of Contents Italian Futurism Design: History and Examples 13 Italian Futurism: A movement all designers can learn from 38 How Italian Designers Left Their Imprint on Global Graphic Design 44 The Influence of Italian Graphic Designers on American Visual Culture 51 Italian Graphic Design 59 An interview with Italian graphic designer, XxnIKoxX 68 10 Best Creatives From Italy 75 Italyâ&#x20AC;&#x2122;s rich graphic design history celebrated with new website 83 Archivio Grafica Italiana 86 Pittograma: An Open Call for Unpublished Typefaces Designed by Italians Designers Under 30 91 Legacy of Letters: An Italian Tour 99

Foreword Domenico Colace Italian graphic design made waves in the design community around the turn of the 20th Century. This was highlighted by the Futurist movement led by Filippo Tommaso Marinetti among other Italian designers who brought Italy to the forefront of design culture. Throughout the 20th Century, Italian graphic design has seen some influential designers rise within the design community and affect the rest of the world. However, these designers and their works are oftentimes overlooked not only in their native country of Italy but also in the world in which they have been so influential. The primary reason that Italian graphic design tends to be pushed aside is because of the other design mediums that Italy exports. Oftentimes when people are prompted about Italy, they think of high-end fashion, automotive design, furniture and even architectural design but rarely do people cite graphic design unless it is in reference to the Futurist movement. From my research I have been able to find that many Italian designers would flee Europe during the Pre-War era to evade discrimination and tyranny. Many of them would find home in New York and establish 9

their own studios and design firms. In PostWar Europe, Italian designers would soon begin to innovate in order to help rebuild the war torn country. The counterpoint to this resurgence was that as the rest of the world healed and prospered, the Western ideals of materialism became commonplace. This would shift many peopleâ&#x20AC;&#x2122;s attention to the material goods that Italy would export namely high-end fashion and furniture. Italian automobile design was always revered for its innovation and status but it would not be until more recently that it would become mainstream through the use of media. Even though modern graphic design in Italy is often overlooked, that does not mean it is nonexistent. In fact, the graphic design community is still thriving and innovating albeit on a smaller scale compared to the other design mediums. Italian designers focus their attention on creating and innovating typography. The typefaces that Italian designers create can range from classy serif faces seen with high end luxury or even sleek san serif type that is used for other signage. Another meaningful impact that graphic designers from Italy work on, is the advertisements and commercial posters for the other industries. This helps innovate design by combining the graphics in a meaningful way with the content of the other mediums.

My intent for a project is to bring the attention of modern designers and non-designers to the graphic design community in Italy. I originally wanted to create social media posts and other advertisements to bring this attention. To achieve this I would like to take important and notable items from the other Italian design exports and create works that combine Italian graphic design into them. An example of this would be to take a luxury fashion item and to create and overlay a design of famous existing Italian graphic design over it. This would connect the viewer to the item but they would see that it was created with another Italian design that is just as important and influential. These works I would like to post online either through a website or social media posts. I would include references and links to designers and their works as well as where to find graphic design opportunities in Italy.

Italian Futurism Design: History and Examples Marc Shenker Futurism was an artistic and social movement in early 20th-century Italy that put an emphasis on themes like technology, speed, and youthfulness. Given these themes, objects like cars, planes, and industrial cities were popular. Futurism sought to cut ties with the past and move the Italian design movement intrepidly to the modern. While Futurism was a very uniquely Italian design movement, there were nonetheless strains of the same ideas that popped up simultaneously in Russia, Belgium, and the UK. To be a Futurist meant you had wide-ranging influence and skill: members of this design movement practiced across various design and artistic scopes. These included graphic design, painting, interior design, ceramics, sculpture, textiles, film, fashion, and architecture. Due to its wide range of influence, Futurism ended up impacting many other notable design trends. History still remembers this highly interesting period of Italian design as a radical movement that attempted to chart its own course and ended up leaving its fingerprints on many aspects of modern Western culture.

The Origins of Futurism Design This movement can be traced back to a particular man and location. Filippo Tommaso Marinetti founded this design trend back in 1909 in Milan. An art theorist and poet, Marinetti was the author of the Futurist Manifesto (1909) as well as the Fascist Manifesto, later on. Described for the first time in his Futurist Manifesto, Futurism was envisioned by Marinetti as a stalwart rejection of everything that made up the past. Springing forth from its pages was a philosophy that praised machines, speed, youth, industry, and violence while pushing for a cultural modernization of Italy.

Filippo Tommaso Marinetti, 1912

Central to Marinetti's viewpoint was the philosophy that humanity should triumph over nature, specifically through technology. That explains why the Futurists admired manmade concepts like machines and industry, as opposed to design movements like Art Nouveau, which put a significant emphasis on the organic beauty of nature. Interestingly, Art Deco, which appeared around the same time as Futurism, deftly combined natural and machine-based elements to create a fusion of the best of both worlds. To the Futurists, being original was the most important design element of all, which is why they demanded complete severance with anything of the past. Originality was so important to them, that they believed it should come at all costs, even through violenceâ&#x20AC;&#x201D;which is why it was such a radical design movement. Contemptuously, they derided their critics for being useless, defied the traditional notions of good taste, and put their faith in science (again, the tie-in to their obsession with technology and machines). By 1911, Futurists broke ground in painting, utilizing the technique of Divisionism to gain attention. This was characterized by separating colors into singular groups or dots that then visually interacted. Some of the early, prominent painters who adopted the mantle of Futurism included: Gino Severini Giacomo Balla Umberto Boccioni Carlo Carra 15

There was only a relatively small and hardcore number of these artists who moved toward this new design style. At the time, Cubism presented itself as the technique of abandoning perspective, blending the foreground into the background, and showing subjects from different and distorted angles. Severini was exposed to this visual style and brought it back with him to Italy. As a result, Futurism from then on borrowed from Cubism.

At this point, the Futurist painters started producing noteworthy works of art, such as: Funeral of the Anarchist Galli by Carra The City Rises by Boccioni Dynamism of a Dog on a Leash by Balla Dynamic Hieroglyph of the Bal Tabarin by Severini 16

Woman With Absinthe by Carra Spiral Expansion of Speeding Muscles by Boccioni By 1913, the Futurists had embraced sculpture as their new creative outlet. Boccioni especially wanted to capture the three-dimensional space to showcase his Futurist ideas. One of his more famous pieces was Unique Forms of Continuity in Space, a bronze sculpture that highlights movement and fluidity. Note, again, the tie-ins to one of the central themes of Futurism: speed (movement). Interestingly, this sculpture is immortalized today on the back of Italy's 20-cent euro coin and on display in London's Tate Modern, the famous modern art gallery. Boccioni was joined by Balla in trying to carve out a niche for Futurism in sculpting. Balla did this by doing something very original with his sculptures: they were abstract reconstructions fashioned from different materials. Because of Futurism's obsession with speed and technology, they were allegedly moveable and able to make noise. Balla moved to sculpting to express his admiration of motion because he believed that using a two-dimensional medium (read: painting) didn't sufficiently allow him to represent the dynamic nature of speed the way he wanted. Though Futurism was still a very young design movement, by 1914 a schism emerged between its two most influential camps: the Milan artists (that included Boccioni and Balla) and the Florence group that centered around Carra. Essentially, the conflict was about design differences and a struggle for control over the direction of Futurism. This 17

schism would foreshadow looming troubles for this new movement, which would actually soon come to an abrupt and harsh end.

The outbreak of World War I in 1914, which Italy entered in 1915, saw a number of its principal members enlisting (and some getting killed in service). Though Futurism's philosophy had always been rooted in the rejection of the past with regard to design, and its admiration of speed, machines, and technology, its founders hadn't been overtly political until right before the start of the war. In early 1914, many Futurists started to speak out against the Austro-Hungarian empire, one of the principal belligerents of the war against whom Italy would be fighting. Their activities included tearing up Austrian flags in protest and proudly waving Italian flags. This increasing patriotism and nationalism led to many of their members signing up for service. 18

At the same time, some Futurists actively abandoned this now-sputtering movement, with the Florence group centered around Carra officially withdrawing from Futurism. Severini also abandoned Futurism, turning his attention full-time to Cubism, which he originally brought back with him to Italy after a trip to Paris, years earlier. When Boccioni was killed in action in 1916, it officially signaled the death knell of Futurism. Though Marinetti, who also saw action on the border of Italy and the Austrio-Hungarian empire, attempted to revive Futurism after the war, he had only very limited success. Futurism was eventually linked to fascism in post-World War I Italy, which helped the remaining Futurists get work and contribute to vital architecture in Italy. However, after fascismâ&#x20AC;&#x2122;s defeat in World War II, any remaining Futurists were essentially blacklisted in their careers since few wanted to work with members associated with a discredited and ruined political ideology. In all, Futurism's heyday lasted scarcely a decade or so, from Marinetti's official founding of it in his 1909 manifesto to its eventual end, brought about by World War I, less than a decade later.

The Characteristics of Futurism Design So far, weâ&#x20AC;&#x2122;ve talked about the main themes of this short-lived design movement, which were: Speed Violence Machines Youth Industry The Futurists came up with various techniques and philosophies to showcase their important themes to their audience.

For example, thanks to what they called â&#x20AC;&#x153;universal dynamism,â&#x20AC;? Futurist art and design was based on the idea that objects weren't considered distinct or separate from other objects around them or their environment. In their struggle to carve a unique path for their movement, they also bor20

rowed from the principles of Divisionism. Divisionism was defined by: Separating colors into individual groups Forcing the viewer to combine said colors optically (as opposed to physically combining pigments) Breaking down light and color into specked stripes and dots Other traits found in Futurist art and design include: A focus on modern, urban scenes and objects in motion The use of lines of force, which communicate the directional thrusts of objects through space The use of simultaneity, which mixed the elements of memories, current impressions, and future-event anticipation The presence of emotional ambience, which is the linking of feeling between interior emotion and the exterior scene Reliance on intuition, defined in design and art as an indelible experience of sympathy that causes the viewer to be moved enough to an object’s inner quality to discover what’s unique about it The perception of continuous movement To learn more about this style’s characteristics and take inspiration from them, see our selection of Futurism-inspired digital assets:

The Aviator Font Collection, Vintage Voyagw D.S.

Vintage Aeroplanes, Ally Heart

Technology Icons, vasabii

Shots from a Moving Car - 120, Fresh Design Elements

Vintage Cars Vector Pack, Go Media's Arsenal

Abstract Speed Line Patterns, vectortatu

Futurism in Graphic Design Though short-lived, Futurism contributed interesting approaches to graphic design that are still captivating to look at today.

Manifestos The place to start is the Futuristsâ&#x20AC;&#x2122; own Futurist Manifesto, which was published in 1909 in both Bologna's Gazzetta dell'Emilia and Paris' Le Figaro newspapers.

When we look at the paper's design in the early 20th century, we see: Very close tracking (spaces between letters) Serif fonts for both the body copy and headlines Line spacing is very close Very little white or negative space 24

A few years after the founding manifesto, the Futurists again released another manifesto, this time, it was to communicate their belief system when it came to painting. It was titled the Technical Manifesto of Futurist Painting and published in 1914. Looking at its layout, we see other Futurist touches of graphic design, like: A lot of white or negative space Serif fonts for body copy and headlines The use of sentence case Minimalism Color contrast

Books Another noteworthy contribution is French poet Guillaume Apollinaireâ&#x20AC;&#x2122;s posthumous 1918 book, Calligrammes: Poems of Peace and War: 1913 â&#x20AC;&#x201C; 1916. It displays a graphic design based on the unique art form of a calligram, or a visually arranged text that creates an image related to the 25

meaning of said text. For example, a calligram relating to Moby Dick could be visually represented as a sperm whaleâ&#x20AC;&#x201D;with the text forming the outline of the whale.

Apollinaire's book featured visual poetry that showcased how arranging typeface can produce just as much meaning in the work as the text's individual characters and words.

Marinetti, Futurism's founder, managed a poetry journal from 1905 to 1909. One of its last issues was solely dedicated to Futurism, which featured glowing reviews from the press and the inclusion of the Futurist manifesto.

Marinetti also wrote a tome titled Zang Tumb Tumb. Adrianopoli, Ottobre 1912, published in 1914. This book features his report of Turkish city Adrianople's (currently Edirne) siege, when he was a war correspondent. The book's title is an allusion to the sounds of battle: bombs, shelling, and explosions. Note how the book coverâ&#x20AC;&#x2122;s design is heavily stylized with elliptical, crooked, and diagonal type layouts.

Magazines Fortunato Depero, a graphic designer, sculptor and painter, experienced notable success in designing covers for big American magazines during the 1920s and 1930s. His designs appeared on covers for Vogue, Vanity Fair, and The New Yorker, to name just a few. 27

He also designed posters for the subway.

Overall, looking at his designs, you'll notice: Striking, vibrant colors Sans serif typography Geometric shapes like strong lines, curves, angles, circles, triangles, and right angles Heavily stylized elements If you want to recreate some of these design details, check out these unique Futurism-inspired fonts in the marketplace: Turismo CF Modern & Automotive Font, Connary Fagen

Regime Grotesk, Hederae Type Foundry

Pikolo Display Font, Ideabuk

Emblema Metafamily, graffistyling

Sketches and Illustrations No look at Futurist graphic design would be complete without mentioning Antonio Sant'Elia, a Futurist architect who is an anomaly because he left behind practically no finished architectural works. However, his big contribution to graphic design turned out to be the volume of design sketches and illustrations of his plans that he left behind.

Another Futurist who was killed in World War I, Sant'Elia was inspired by American industrial cities, which led to his many sketches and drawings for a Futurist â&#x20AC;&#x153;New Cityâ&#x20AC;? that was machine-and technology-heavy. These sketches are today on display in Como, his hometown.

When we look at his visionary illustrations, we see the following qualities: 31

Grand scale Clean, strong lines Elliptical and diagonal lines Geometric shapes An emphasis on technology and machines An almost surgical and clinical approach to planning Then, there's Fortunato Depero, a Futurist graphic designer and painter.

A eropittura (A eropainting) Aeropittura was a highly interesting style of art because it was produced by the Futurists when their movement was already well in decline, from about 1929 to the 1940s. In spite of its production in the dying days of Futurism design, aeropittura is still a gripping and visually striking approach to painting.

Here, the subject matter was airplanes and aerial landscapes, mainly coming from the remaining Futuristsâ&#x20AC;&#x2122; own experiences with flight. The way Futurists approached aeropainting was diverse, as they incorporated the following themes in their creations: Realism Decorative art Religion Portraiture Dynamism Abstraction Quiet Umbrian scenery

Aeropittura generally included the following characteristics: A grand vision in terms of projection The idealization of aerial technology, sometimes bordering on the fanciful A documentary approach to aeronautics Distorted angles Vibrant colors Dramatic scenes Aerial battles

Futurism in A rchitecture Our look at Futurism design wouldnâ&#x20AC;&#x2122;t be complete without covering the style's contributions to architecture, which was also a major focal point for the short-lived movement. Futurist architecture was characterized by the following traits: Long, powerful lines The suggestion of speed and motion Urgency Over its short life, Futurist architecture produced three manifestos, but relatively few works. Its first recognized building was the Lingotto factory, designed by architect Giacomo Matte-Trucco. Once housing an automobile factor for Fiat and opened in 1923, the structure was the biggest car factory in the world at the time. What was extremely unusual about it was the way cars were built: raw materials were brought in on the ground floor, and the vehicles built on a line that gradually went up the building's five floors. The finished cars 34

came out on the rooftop level.

Since then, Futurist architecture eventually morphed into neo-futurism, starting in the 1960s and 1970s. This neo-futurism is defined as an adjunct to technology, building previously impossible shapes and forms thanks to new materials and computer technology.

Futurism Design: A Very Memorable Flash in the Pan Futurism design is almost a paradox of sorts. Itâ&#x20AC;&#x2122;s still remembered today for its influence on western culture, yet it lasted a very short time and was then increasingly ostracized by the world because of its association with fascism. Undoubtedly, the Futurist revolutionaries had radical ideas that turned the design world on its head, 35

but the movementâ&#x20AC;&#x2122;s fascination with violence and war proved to be its undoing, as many of its prominent members were killed in World War I.

Italian Futurism: A movement all designers can learn from Illona Poluan Relating graphic design to modern art may seem like a stretch. On one hand, you have design which is a practical marketing tool used to appeal to viewers. And on the other is modern art which aims to challenge viewers and really get them to think. However, if you've encountered a design brief that asked you to visualize abstract concepts â&#x20AC;&#x201D; youthful, dynamic, powerful, trustful â&#x20AC;&#x201D; then finding inspiration from modern art is not that far off. And the perfect art movement to look at is Italian Futurism. Futurism, originated by Filippo Marinetti in 1909, rejected the past and set out to celebrate a number of abstract concepts like speed, machinery, violence, youth and industry. Even more abstract â&#x20AC;&#x201D; kinetic energy, duration and simultaneity. How's that for a design brief? Yet, artists achieved precisely what they set out to do by working with extreme contrast in colors and shadows and using intersecting lines to show movement. 38

Left: Balla, Speeding car (1913) Right: Balla, Speeding car plus light (1913)

Futurist, Giacomo Balla used diagonal lines to create movement and speed â&#x20AC;&#x201D; his multiple circles suggested the specific movement of a car. The chaotic placement of each element does a great job at appealing to our emotions. Unlike Balla who explored speeding cars and light, Umberto Boccioni, a leader of the Futurism movement, was interested in capturing the endless movement of life. In his paintings, Boccioni created an imaginary representation of his subjects by representing them with curvilinear patterns. The crowds are contrasted and surrounded nicely with linear lines. Left: Boccioni, States of Mind, Those Who Stay (1911) Right: Boccioni, States of Mind, Those Who Go (1911)

Futurist art included more than paintings. Fortunato Deperoâ&#x20AC;&#x2122;s magazine cover and letter composition primarily uses text designed to show depth as well as movement. The cover plays with perspective by having elements decrease in size from right to left. 39

Although the letter is more 2D, it still accomplishes movement with green, arrow-like lines that direct the eye from word to word. Left: Depero, An ode to the 20th century, Magazine cover (1929) Right: Depero, Freeword composition letter addressed to Marinetti (1916)

During the Futurism movement, there were other subjects artists were attracted to, World War I being one of them. It was a great subject for art and artists believed it was the chance to give Italy a new identity. Gino Severini's Guns in action combines text, lines and illustrations to convey war scenes. Viewers’ eyes are drawn to the centered “Bboumm” — a familiar sound heard in war. The lines and curves create disorderly movement while words are placed to complicate things a bit more.

Guns in action (1915) by Severini

The futurist movement was short-lived and ended in 1916. However, its influence goes much further. Here are poster designs that were influenced by Futurism: Left: Art Deco in the 1933 World's Fair Right: Vorticism in Wyndham Lewis' BLAST

In the World's Fair design, we clearly see the industrial theme being presented with flying airplanes, cities and flashy lights. In Wydnham Lewis' BLAST, and the cyperpunk comic books below, we can definitely see influences from futurism. We not only see similarities with cyberpunk's high tech, low life philosophy but each design incorporates many Futurist techniques. 41

Can you tell us what they are? Left: Darick Robertson Transmetropolitan Vol 2 cover Right: The Chicagoan Magazine cover

How Italian Designers Left Their Imprint on Global Graphic Design Alice Rawsthorn MILAN — Every so often a design project emerges that design purists love, but lots of other people hate, including many of those who were intended to use it. A prime example is the 1972 New York subway map, a masterpiece of visual ingenuity, which depicted the labyrinthine network as an orderly series of straight lines, all running at 45- or 90-degree angles from the stations. The hitch was that the map’s designer had to ignore geographic reality in order to “tidy up” the tangled system. Some New Yorkers were outraged by the result, and voiced their concerns loudly. Why was Central Park shown as a square, when it is three times longer than it is wide? And how could the Lexington Avenue 63rd Street station be placed beside 68th Street Hunter College, which is five blocks away? The complaints did not stop, and the New York City Transit Authority conceded defeat by replacing the map with a conventional geographic one in 1979. Rightly or wrongly, those furious New Yorkers had rebuffed the efforts of a gifted Italian designer, Massimo Vignelli, to impose his desire 44

for visual order on their subway. Not that this setback stopped him or his compatriots from deploying their talent with greater success in their own country and others, as an exhibition of modern Italian graphic design running through Feb. 24 at the Triennale Design Museum in Milan shows. An advertisement for Pirelli designed by Massimo Vignelli in 1964

The latest of a series of annual surveys of Italian design to be presented by the Triennale Design Museum, “Grafica Italiana,” or “Italian Graphics,” is the first to be devoted to graphic design. Its predecessors focused on furniture, cars and other objects that are typically associated with Italian design. Graphics did feature in the best of the shows, the gloriously idiosyncratic collection of objects and imagery assembled two years ago by the designer Alessandro Mendini in his visual essay on Italy’s cultural identity, “Quali Cose Siamo,” or “The Things We Are.” 45

Graphic design is a particularly eloquent medium with which to explore designâ&#x20AC;&#x2122;s influence on a nation. First, it is highly expressive. Graphic artifacts like posters, books, magazines, visual identities and typefaces can be produced so swiftly and inexpensively that it is possible for them to reflect their context with greater speed and sensitivity than the products of more onerous industrial design processes. Secondly, graphic design is a ubiquitous element of daily life that we are exposed to whenever we venture out onto the street or open a newspaper, regardless of whether we wish to see it. Silvana Annicchiarico, director of the Triennale Design Museum, illustrates the point neatly in her essay in the exhibition catalog by describing how the characters in one of Italo Calvino's short stories leaned out of the window of their dreary attic room to admire the surrounding landscape only to have the illuminated letters G, N A and C in a cognac sign on a nearby roof to glow so brightly that they erased everything else. â&#x20AC;&#x153;Grafica Italianaâ&#x20AC;? begins with the staccato typography produced in the early 1900s by Filippo Tommaso Marinetti, Fortunato Depero and other members of the Futurist movement, which influenced designers and artists all over the world. Dynamic though the futurists and other avant-garde groups were, it was not until the early 1930s that their thinking was reflected in mainstream Italian graphics. The landmark year was 1933, when a team of progressive designers, printers and photographers started the magazine Campo Grafico, and Studio Boggeri was founded in Milan by the 46

designer and photographer Antonio Boggeri as a bastion of â&#x20AC;&#x153;International Styleâ&#x20AC;? graphics. The cover of Epoca magazine, designed by Bruno Munari in 1950

Studio Boggeri employed many of the most influential Italian designers of the time including Marcello Nizzoli, who is renowned for his work for the office equipment manufacturer Olivetti, and Albe Steiner, best known for his projects for radical political groups. It also forged a close rapport with many of the Italian companies, which would pioneer the commercial use of modern graphic design during the mid-20th century, including the tire maker Pirelli as well as Olivetti. Ensuring that their corporate logos, advertising and other visual manifestations of their businesses looked elegant, intelligent and contemporary was critical to their success. Other prominent late 20th-century Italian graphic designers engaged with different disciplines too, like Bruno Munari, an engineer-turned-artist who designed books and magazines as well as pro47

ducing his own books on visual theory. Enzo Mari started out as an artist, before turning to product design, and then graphics, while Ettore Sottsass, A.G. Fronzoni and Mr. Mendini also practiced architecture. The vitality of Italy's graphic scene encouraged talented foreign designers to work there. Max Huber moved to Milan from his native Switzerland to produce compelling designs for Italian companies like the retail group La Rinascente. The Dutchman Bob Noorda devised the graphic component of one of Italy's most ambitious early 1960s design projects, the Milan subway system, before teaming up with Mr. Vignelli to co-found the Unimark International design group. By the mid-1960s they had moved to New York, where their commissions included the signage for the city's subway system and, eventually, Mr. Vignelli's controversial map. An interesting subtext of “Grafica Italiana” is the international influence that he and his peers exerted through their work both in Italy, for export-oriented companies like Olivetti, Pirelli and, later, Fiorucci and Benetton, and in other countries. Mr. Vignelli's projects in New York, where he is still based, included the corporate identities of American Airlines and the Knoll furniture group. Germano Facetti was a prominent figure in British book design when he worked for Penguin in the 1960s. Wherever they worked, Italian graphic designers imbued the rigor of the modernist style with a distinctive playfulness. “Grafica Italiana” demonstrated how they did so in traditional printed media, such as books, magazines and posters in the last century. Will the current crop of Italian designers 48

and their successors instill a similar spirit in phone applications, Web sites and other digital products, which will dominate graphics in future? A design conceived by A. G. Fronzoni in 1980 for the Department of Culture, Genova City Council

The Influence of Italian Graphic Designers on American Visual Culture Roberta Cutillo “Italian Types: Graphic Designers From Italy in America” showcases the work of 16 Italian designers who left their mark on the visual and cultural landscape of the US, particularly in “cities of immigrant art and design” such as New York. The purpose of “Italian Types: Graphic Designers From Italy in America”, an exhibition hosted by the Italian Cultural Institute in New York and curated by Patricia Belen, Greg D'Onofrio, and Melania Gazzotti, is to bring awareness to the work of Italian graphic designers in the US and to their lasting impact on American and global visual culture. The show features sixteen designers who contributed to commercial graphic design in America in the pre and post World War II periods: Fortunato Depero, Paolo Garretto, Costantino Nivola, Leo Lionni, George Giusti, Albe Steiner, Erberto Carboni, Romaldo “Aldo” Giurgola, Roberto Mango, Giovanni Pintori, Bruno Munari, Franco Grignani, Heinz Waibl, Giulio Cittato, Bob Noorda and Massimo Vignelli. The works exhibited, all created roughly between 1928 and 1980, come in 51

a variety of formats from posters, to magazines, albums, and book covers. Beyond highlighting the overall impact of Italian designers on the American landscape, the show also tells the unique stories of each artist. Oftentimes, these read as typical immigrant tales, since many of the featured designers came to America in search of work opportunities. As renowned art director, writer and graphic design expert Steven Heller says in his introduction for the exhibition’s catalog “New York was a city of immigrant art and design.” Some of their stories end in success, but that is not always the case. For example, the now wellknown Italian Futurist Fortunato Depero, the first artist presented in the exhibition, first moved to New York in 1927 where he set up his studio/gallery, the “Casa Futurista Depero” (Futurist House). He worked for important clients including The New Yorker and Vanity Fair, and showed his works in Manhattan Art Galleries, garnering positive reviews from important publications such as the New York Times. However, these were the years of the Great Depression and Depero eventually had to move back to Italy in 1930 due to economic hardships. After the war, in 1947, he tried to come back to the United States but had difficulty finding work and finally returned to his hometown in Rovereto. Other designers fared better. Leo Lionni, for example, initially came to the US in 1939 in order to escape racial persecution in Italy. He quickly started working for important clients, then later 52

on opened his own studio in New York and eventually was appointed as art director of “Fortune” magazine, a position he held for 11 years, meanwhile doing freelance work for Tim-Life publishing group, Italian manufacturing group Olivetti, and the MoMA. Another success story is that of Costantino Nivola who moved to New York in 1939 after marrying Ruth Guggenheim. There he became the artistic director of “Interiors” and “Progressive Architecture” and worked on numerous public and private commissions, including the relief of the Olivetti Showroom in New York. He returned to his native Sardinia for Fortune Magazine to create works for the Rockefeller Foundation's anti-malaria campaign and eventually began teaching in top universities around the US and Europe. Others, like the prominent designer, artist, children's book author Bruno Munari, never lived in the United States but showed their work there and worked with American clients. Munari’s work was exhibited in Leo Lionni's New York gallery as well as at MoMA. He also taught a course in design and visual communication at Harvard and many of his books were translated and sold in the US but remained based in Milan throughout his life. In fact, during the 50s and 60s, as some Italian designers were getting more and more commissions by important American clients, prominent Italian companies such as Pirelli and Olivetti (for which many of the exhibited artists worked at some point in their career) were also beginning to invest in designers, both Italian and foreign, turn53

ing cities like Milan into fervent creative hubs and bolstering the image of Italian design. The exhibition ends with pieces by Massimo Vignelli, whose important work, particularly his 1972 design for the NYC subway map, perfectly render just how influential these Italian designers were and continue to be. Like much of the works present in the exhibition, Vignelliâ&#x20AC;&#x2122;s subway map remains to this day striking for its simplicity, elegance and eternal modernity. â&#x20AC;&#x153;Italian Types: Graphic Designers From Italy in Americaâ&#x20AC;? is on view at the Italian Cultural Institute in New York (upon reservation) until May 02, 2019 and a panel with the contributors of the catalog will be held at Cooper Union on April 3, 2019.

Leo Lionni's cover of Fortune Magazine, Feb. 1960

Movie Makers Magazine cover Dec. 1929 by Fortunato Depero

Exhibition Poster with a design by Bruno Munari

Interiors Magazine Cover May 1952 by George Giusti

NYC Subway Plan by Massimo Vignelli, 1972

Italian Graphic Design domus web The exhibit curated by Francesco Dondina showcases the contemporary Italian graphic design scene through the works of 24 among the country's most interesting designers. The mail goal of “Signs. Contemporary Italian Graphic Design” is to offer an all-round representation of the current state of Italy’s communication design scene. The exhibit is curated by Francesco Dondina and produced by h+ in collaboration with BASE Milano, and will take place inside the recently refurbished spaces of the former Ansaldo industrial complex, now a multifaceted cultural hub dedicated to cultural production, experimentation and community building. Left: Origoni/Steiner, Manifesto exhibition “KITSCH”. Right: Obelo, Poster Libreria Verso

1 “Signs” launches an exhibition project centered on graphic design, in its broadest sense, and aims at showcasing the results and developments of contemporary Italian graphic design through the works of 24 among the country's most interest59

ing designers – both established and upcoming – each accompanied by his or her unique story, culture, education, age and language Leftloft, Balena

In this exhibit, emerging talents and renowned figures stand side by side: the public will be able to admire projects fostered by Alizarina, Stefano Asili, Mauro Bubbico, Ginette Caron, Cristina Chiappini, Gianluigi Colin, Pietro Corraini, Artemio Croatto/Designwork, Studio FM, Michele Galluzzo, Italo Lupi, Gianni Latino, Leftloft, Giuseppe Mastromatteo, Armando Milani, Maurizio Milani, Òbelo, Origoni Steiner, Federico Pepe, Mario Piazza, Massimo Pitis, Luca Pitoni, Guido Scarabottolo, Leonardo Sonnoli. Left: Leonardo Sonnoli, When I’ve nothing to say I write it in bold. Right: Mauro Bubbico, Poster patron festival of San Michele

The exhibit also features a tribute to graphic design master Giancarlo Iliprandi, who recently passed away: “Signs” is dedicated to him. The curator commended the coordinated image of “Signs” to a young and promising designer, Fabrizio Falcone – choice that further underlines the project's intent to showcase the new names of Italian graphic design. The entire project is animated by a desire to not impose boundaries or specific themes that would restrict the exhibit’s content as to embrace all aspects and investigate the peculiar differences of each creative sphere. The exhibit offers a 360° perspective of contemporary Italian graphic design, ranging from corporate identity to publishing, exhibition design, advertising and packaging all the way to web and information design. “Our daily life is literally surrounded and sometimes overwhelmed by information and visual shapes that form the very landscapes of our existence”, says Francesco Dondina. “Graphic design is everywhere: in our cities, homes, offices, stores, objects and communication outlets. It has taken on a role that is no longer limited to its functionality, for it has now become a structural component in our habits, behaviors, decision making and permeates all throughout the reality we live in”. Leonardo Sonnoli, Never&Now

Stemming from these considerations, the exhibit set up was conceived in a way that allows different materials and languages to have a fluid dialogue. Each one of the 24 authors involved was offered a worktable, as to give off the feeling of an open studio, a container for both signature projects and works and, in some cases, preparatory mockups, drawings, three-dimensional models and prototypes that describe the radical and fascinating meaning-making – and communication – process behind the creation and design of artifacts. This rich and many-sided variety of materials (prints, sketches, articles, posters, both original and reproduced works exclusively prepared for the exhibit) sets the stage for a very specific message, a present-day testament including some of most relevant examples of Italy's contemporary design and visual communication scene. Italo Lupi, City after the City

To crown the end of the exhibit, a special project will take place involving all featured artists in the creation of a unique body of work especially designed for BASE Milano. Content-wise, “Signs” is further enriched by moments of discussion, education and experimentation through a varied calendar of talks and workshops on both graphic and communication design which will also feature 62

the authors on display.

Left: Federico Pepe, Credenza, Spazio Pontaccio Right: Gianni Latino, poster Museo Diocesano Catania

Left: Gianluigi Colin, Ritratti di carta, Lady Diana Right: Gianluigi Colin, Un giorno di carta, More is Less

Left: italo Lupi, poster Vespa Right: Christina Chiappini, Mandela

Alizarina, original multiple posters

Stefano Asili, Hortus Botanikus Karalitanus

Giuseppe Mastromatteo, Poster Triennale Bovisa

Guido Scarabattolo, Cose che non vedo

Left: Armando Milani, Poster War-Peace Right: Armando Milani, The globe traveller

Left: Mauro Bubbico, La donna regge l'uomo el'uomo Right: Mauro Bubbico, poster Pasolini a Matera

An interview with Italian graphic designer, XxnIKoxX Allison S. Gremillion Nicola D'Alessandro, aka XxnIKoxX, is a talented graphic designer from Italy. We ran across his portfolio and we were immediately attracted to the personality he puts into his logo designs. We've seen first hand what a pleasure it is to work with Nicola, when he joined our fun community contest to re-design the Miami Dolphins logo. Check out some of his photography and design work below. Name: Nicola Dâ&#x20AC;&#x2122;Alessandro Location: Italy 99designs handle: XxnIKoxX Projects won: 30 How did you get started in design? I always liked drawing every since I was a kid! I studied accounting and commerical for 5 years, but I never gave up my passion for drawing. One day, I discovered the existence of Photoshop and Illustrator. Then I began studying these programs by following online tutorials. 68

How do you get inspired? My inspiration comes from everything around me: music helps a lot, so does walking or looking at pictures. A detailed brief also helps, so I can better understand what the customer wants. The process begins by documenting the field, which is important from a cultural point of view. I learn many new things from working with every type of industry. Once the research is done, I start creating proofs by hand using a pencil or pen with my tablet. After Iâ&#x20AC;&#x2122;ve made a selection of projects that stand out, I begin working in Illustrator.

Are there any other mediums or forms of art you like to work in? Everything that is art deserves respect! Lately Iâ&#x20AC;&#x2122;ve been warming up to photography, I noticed there are artists â&#x20AC;&#x201D; like Dave Hill or Andrzej Dragan â&#x20AC;&#x201D; who do amazing things in this area.

What do you think makes you stand out from other designers? I think every designer has their own style. I try to always put a little bit of my personality in every 70

project whether it be a logo, a character or any other form of design, and I think that's what makes me different from other designers.

What led you to start using 99designs? I discovered the existence of this fantastic site during some internet research. Since I am a competitive person, I wanted to test it and decided to sign up. At the beginning, I wasnâ&#x20AC;&#x2122;t winning but I never gave up. Then I won my first contest and it was an indescribable emotion! All of this has changed my life, somehow I knew my path was art and design â&#x20AC;&#x201D; many thanks to 99designs! Now I study Advertising, Design and Creative, and work as a freelance graphic designer. 71

What are the three most important things that designers can do to have success at 99designs? 1. Please, read the brief: Understand what the customer wants. 2. Donâ&#x20AC;&#x2122;t copy other designers: The project must come from your own mind, it's not nice to copy others. 3. Donâ&#x20AC;&#x2122;t give up: If you have talent then the results will come, even if you do not win right away.

Why do you think design is important? Because design shows everything a company rep72

resents. And a company's branding distinguishes it from their competition. How do you see the field of graphic design changing in the next few years? I can not tell but I think the online configuration will become increasingly widespread. There will be more brains and more results!

Describe your hometown. Do your surroundings impact your design style? My hometown is Ortona in Italy, a country rich in history. It's located between the sea and the mountains. The colors of the sea, at different times of the year are wonderful. It affects my style and definitely inspires me!

10 Best Creatives From Italy Laura Entralla At Shillington, we're proud to teach design students from 60+ countries at our home campuses in Australia, America and the United Kingdom. Both in the classroom and on the blog, we make sure to celebrate creatives from around the world, because it’s invaluable for young designers to research and be inspired by many different creative scenes—not just their own backyard. So far, we've rounded up our favourite creatives in Spain, Brazil and Ireland too. Who's up next? Italy! You can't get much slicker than the Italians. Pizza, fashion, culture, breathtaking landscapes and sports cars—they've nailed the lot. Well guess what? They're pretty awesome at graphic design too and to celebrate we've selected our 10 favourite Italian creatives. From Branding to Illustration there's something for everyone in this inspiring round up. We look at the exceptional animation by Illo, seriously cool typography from Artiva Design and drool over just about everything from Le Tigre.

1. Bocanegra

Getting creative for both small and large agencies Boceanegra have some seriously beautiful work in their portfolio. Their identity for ‘Arts On The Black River‘ caught our attention with its warming colour palette and image treatments. As did their illustrative branding for ‘May Traditions‘—where can we buy that bottle of wine?! 2. Atelier790

Hands up who wants to get their paws on this preservative packaging? Atelier 790 are an agency known for their impeccable packaging, from 76

alcoholic beverages to baked goods they've done it all. 3. La Tigre

Le Tigreâ&#x20AC;&#x2122;s portfolio oozes cool sophistication. A multidisciplinary studio who, employ a bespoke method for every single projectâ&#x20AC;&#x2122; their work ranges from catalogue design such as Roda to the branding of independent cinema Beltrade as well as finding the time to sell prints from their online shop. Talk about allrounders. 4. Studio Mut

Based in South Tyrol Studio Mut have some seriously inspiring work. We’re big fans of their ‘Brick Pattern Catalogue’ for Lottozero Textile Lab. Be sure to follow them on Instagram to keep up with all the graphic design goodness. 5. Happycentro

Happycentro are a small studio with a heaps of talent. Perhaps known most for their work with Italian fashion brand Fendi for which they got out some serious crafting skills. Watch this video for a behind the scenes peek at their work for #FendiLoves capsule collection to celebrate Valentine's day. 6. Artiva Design

Time for some typography, and who better to go to than Artiva Design. Known for their black & white aesthetic they've designed numerous typefaces alongside other branding and print based jobs. We're particular fans of Volkart. 7. Studio Ianus

Formed in Milan by creatives Stefano Agabio and Stefano Pietramala, Studio Ianus is a studio specialising in Illustration and animation for art direction, branding, packaging, editorial and advertising. It's hard to pick a stand-out project from their archive but we couldn't look past this branding job for â&#x20AC;&#x2DC;Pasta Fresca Brambillaâ&#x20AC;&#x2DC;. 8. Undesign Working with both Italian and global brands Undesign leave no design stone unturned. Their branding for Italian soft drink J.Gasco caught our eye for it's spin on the traditional style of beverage branding. The heritage style typography works perfectly with a playful twist in the form of some man/bird illustrations. 79

9. Luca Barcelona

Working solo with a name which might suggest he's Spanish rather than Italianâ&#x20AC;&#x201D;Luca Barcelona is certainly one to watch. Hitting the big time with his work for Absolut Vodka his incredible typography can be appreciated whether it's enhancing a brand or simply adorning a piece of paper.

10. Illo

Who doesn't appreciate some playful illustration? Illo aren't only known for their illustration and animation skills. They're also top notch UX/UI designers, with a number of intriguing app designs under their belt.

Italyâ&#x20AC;&#x2122;s rich graphic design history celebrated with new website Lauren Ro The Archivio Grafica Italiana spotlights designers past and present

A new website spotlighting Italy's graphic design heritage and its global influence has recently launched. Called Archivio Grafica Italiana, the database is founded and edited by Nicola-Matteo Munari, who hopes to put Italian graphic design on the design-world map alongside the country's other treasures like architecture and furniture. A digital catalog of sorts, Archivio Grafica Italiana presents images from categories like logotype, packaging, periodical, typeface, and signage along with details of the piece and short biographies of 83

the designers. Talking to Fast Co. Design, Munari, a graphic designer himself, saw the sharing of Italy's history of graphic design as a duty: â&#x20AC;&#x153;As designers, we should promote the discipline by both preserving its history and contributing to its future, something which isn't possible without promoting culture.â&#x20AC;? The archive includes designers past (Lora Lamm, Massimo Vignelli, and Enzo Mari) and present (Carlo Fiore, and Daniele De BattĂŠ) as a way to propel the movement forward instead of keeping it a nostalgia-driven enterprise. Head over to the archive for inspiration.

Archivio Grafica Italiana Nicola-Matteo Munari

Archivio Grafica Italiana is the first online archive dedicated to the entire Italian graphic design heritage. A growing overview that goes from the greatest classics to contemporary projects, showing the evolution of the discipline from graphic art to graphic design. The archive wants to promote the â&#x20AC;&#x2DC;culture of qualityâ&#x20AC;&#x2122; that is typical to the Italian design tradition by giving the possibility to explore the fundamental aesthetic and cultural contribution brought by Italian graphics all over the world. Archivio Grafica Italiana is a project conceived and produced by Nicola-Matteo Munari.

Pittogramma: an open call for unpublished typefaces designed by Italian type designers under 30 Typeroom Pittogramma in Italian is the pictogram which is used mainly in wayfinding and is featured on the street signals. Till now. Mario Rizzotti and Santiago Villa have launched a brand new project by the same name aiming to share and valorize projects designed by young Italian graphic designers. “Pittogrammawas a funny metaphor to use as the name of the project,” says Rizzotti. Eventually, Typeroom caught up with the Italian creative for more info on this brand new typographic initiative. Typeroom: What is Pittogramma’s core idea? Mario Rizzotti: Pittogramma was born on June 2020 and was conceived by me and Santiago Villa, a colleague of mine at the Milan-based design studio Lissoni & Partners. 91

The idea was to make something together, something that would have helped the graphic design scene for young people, especially because for a young graphic designer it’s very difficult to approach the design scene here in Italy especially because it’s very conservative. So there you go, Pittogramma is a signal to promote and valorize projects designed by young Italian graphic designers. TR: How do you approach Pittogramma contentwise? MR: For the pilot issue, Pittogramma 00, we chose to feature projects we found online, type designs suggested by our teachers and friends, -mainly projects that we believed deserved a broader audience. As for the upcoming first official edition, Pittogramma 01, we have launched an open call titled Caratteri Inediti, which stands for Unpublished Typefaces. Through this we aim to map the situation of the type design discipline in Italy and of course to valorize the selected typographic projects created by the next generation of graphic designers. Although we are still looking for partners to produce this issue, we decided to kick it off anyway. Alessio D’Ellena (the designer of LAICA for ABC Dinamo) and Cinetype’s Michele Patanè contribute as judges to the choice procedure. The cover text features a typeface by CAST and for the texts in the issue we are going to use a typeface gently offered by the open-source foundry Collletttivo. TR: Who helped you to bring this project to life? MR: We have been able to make Pittogramma 00 92

thanks to the support of great companies such as Fedrigoni, the biggest Italian paper mill, Grafiche Veneziane, a printer who always invests in projects like ours and CDcromo, a post production company here in Milan. The help of these three companies was not just a way to make the publication but also to move closer to the students and the real companies, closing the gap between each other. We also had the help of Atto, an established studio in Milan who provided the introductory text regarding the current state of younger type designers in a â&#x20AC;&#x153;matureâ&#x20AC;? type design Italian scene and of Louis De Belle, a great photographer, who documented through his images Pittogramma 00 in detail. In the end Pittogramma became much more than a simple publication; it became a point where different realities merged to support the idea that together is better. TR: What are the logistics of the publication? MR: It is a small publication of 32 pages in 168x240mm format, a decision we made because we could have one publication with just one printing sheet 700x1000mm and zero paper waste. Yet, we are quite open to change the format of the upcoming issues as long as we accomplish a sustainable project for paper mills and printers. Another very crucial point of Pittogrammaâ&#x20AC;&#x2122;s strategy is the plan to distribute it totally free to more than 100 graphic design studios in Italy, over 50 independent bookshops and spaces, and over 30 design schools. So, we want this project to reach as many the biggest and broadest audience possible. 93

TR: What projects do you plan to feature in the upcoming future? MR: We are always on the lookout for projects that start with the right question, projects that have a balance between the research and the practice. Of course, that doesnâ&#x20AC;&#x2122;t mean it should be a 50/50 balance but the two sides need to converge to a balanced point.

Legacy of Letters: An Italian Tour Hoefler&Co. So enormous are the contributions of the Italian people to typography that they often pass unnoticed. The words you are reading may be written in the English language, but they are rendered in the Latin alphabet, which comes to us via Roman ancestors. We celebrate these same ancestors in the name of our upright Roman alphabet, and we remember their country of origin in our slanted Italics. If you ever use our Requiem typeface, take note: taxonomically it is a Venetian Old-Style, its letterforms modeled on the work of a renaissance Roman calligrapher, who was inspired by the inscriptional lettering on a classical Roman monument, which was dedicated to a Roman emperor. The emperorâ&#x20AC;&#x2122;s name was Trajan, an Italian name you may recognize from your font menu; he is immortalized there alongside dozens of his compatriots, including Aldus, Arrighi, Bodoni, and Jenson. Since Italy has remained a cradle of letters and literacy since classical times, it makes an excellent destination for any lover of typography. This June, design historian and calligrapher Paul Shaw will be leading Legacy of Letters, an eight-day typographic tour of some of Italyâ&#x20AC;&#x2122;s most typographic destinations. Including both Emilia-Romagna and the Veneto, the tour includes stops in twelve typographic capitals including Parma, Mantua, Verona 99

and Venice. Registration is now open for a limited number of spaces. Since Italy has remained a cradle of letters and literacy since classical times, it makes an excellent destination for any lover of typography. This June, design historian and calligrapher Paul Shaw will be leading Legacy of Letters, an eight-day typographic tour of some of Italyâ&#x20AC;&#x2122;s most typographic destinations. Including both Emilia-Romagna and the Veneto, the tour includes stops in twelve typographic capitals including Parma, Mantua, Verona and Venice. Registration is now open for a limited number of spaces.

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Contemporary Italian Typography 404: Not Found Contemporary Italian typography is increasinly difficult to find. Many articles redirect you to Bodoni or they 404, making it seem like contemporary Italian typography is non-existent. In most cases Italian typography has yet to be published and shown to the public eye. In other circumstances, Italian typography is overlooked for other forms of Italian design.

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Contemporary Italian Graphic Design 404: Not Found Contemporary Italian graphic design is ofter overshadowed by Italy's other popular design exports. As a result, many people often do not recognize designs as being from Italian designers. The negative effect of this is that Italian designers do not get the credit that they deserve nor does Italy itself get recognition for the quality designers it produces.

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Contemporary Italian Motion Design 404: Not Found Contemporary Italian motion design tends to live in a very niche environment that revolves around advertisement more so than other graphic design mediums. The reason being is that Italian motion design is used more often as a tool for a means to an end than it is as something creatively driven. Italian designers still bring their own creativity to motion design but the subject matter still revolves around advertisement.

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Thank You for Reading Domenico Colace As someone who has immigrant grandparents from Italy, I take pride in my Italian ancestry. When searching for topics for this book I began to think about Italian graphic design and how there were little to no contemporary and notable designers. This led me to begin researching as to why this was the case and whether or not it was true that there was no new Italian graphic designers. My search proved to be bittersweet because I was able to find that the graphic design community in Italy is alive and well although it is extremely small and difficult to find. The reason being is that in the post war era, Italy rebuilt itself as a giant in designer goods, be it fashion, furniture or even automotive goods. If one asked around as to what Italy was popular for, the common answer would be for designer fashion. As great as that is for Italy, it unfortunately pushed graphic design aside and causes it to often be overlooked. Since Italy also has such a strong presence in the other fields of design, modern Italian graphic design tends to be focused in the commercial market to help sell the other types designers goods. My goal for this book was to create a timeline of Italian graphic design. Beginning first during the Futurist movement and showing it continue through the 20th Century until today, to show that not only did it still exist, but that it still was influential on the world. It was not always easy 106

finding proof of this and in some cases, articles that I found one day would disappear the next. The current state of Italy's graphic design community is that it is existent but often goes unnoticed and unthanked for their contributions. Even though many Italian designers have been influential on the world, they go uncredited and forgotten. Italy may be known for their other major design exports but it is important to realize that even if one medium of design takes prominance, it does not mean that the other mediums do not exist. Everyday more and more young Italian designers make their way into the design world and attempt to influence the world with their work. I hope that after reading this book you will keep an eye on Italy and its graphic design community to see what the next great thing they create and share with the world.

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References Cutillo, Roberta. “The Influence of Italian Graphic Designers on American Visual Culture.” IItaly.org, 22 Mar. 2019, www.iitaly.org/magazine/focus/art-culture/article/influence-italian-graphic-designers-american-visual-culture. Entralla, Laura. “10 Best Creatives From Italy.” Shillington Design Blog, 1 Aug. 2019, www.shillingtoneducation.com/blog/10-favourite-italian-creatives/. Fonts by Hoefler&Co., 2011, www.typography.com/blog/legacy-of-letters-anitalian-tour. Gremillion, Allison S. “An Interview with Italian Graphic Designer, XxnIKoxX.” 99designs, 99designs, 10 Mar. 2018, 99designs.com/blog/designers/designer-profile-xxnikoxx/. “Italian Graphic Design.” DOMUS, 8 Nov. 2016, www.domusweb.it/en/ news/2016/11/08/contemporary_italian_graphic_design.html. Munari, Nicola-Matteo. “Archivio Grafica Italiana About.” Archivio Grafica Italiana, 2015, www.archiviograficaitaliana.com/about/. Poluan, Illona. “Italian Futurism: a Movement All Designers Can Learn from - Designer Blog.” 99designs, 99designs, 10 Mar. 2018, 99designs.com/blog/ design-history-movements/italian-futurism-a-movement-all-designers-shouldlearn-from/. Rawsthorn, Alice. “How Italian Designers Left Their Imprint on Global Graphic Design.” The New York Times, The New York Times, 27 May 2012, www. nytimes.com/2012/05/28/arts/28iht-design28.html. Ro, Lauren. “Italy's Rich Graphic Design History Celebrated with New Website.” Curbed, Curbed, 10 Apr. 2017, archive.curbed.com/2017/4/10/15248930/ archivio-grafica-italiana-graphic-design-archive-website-nicola-matteo-munari. Schenker, Marc. “Italian Futurism Design: History and Examples.” Creative Market, 18 Aug. 2020, creativemarket.com/blog/italian-futurism-design. TypeRoom. “Pittogramma: an Open Call for Unpublished Typefaces Designed by Italian Type Designers under 30.” TypeRoom, 30 Nov. 2020, www.typeroom. eu/pittogramma-an-open-call-for-unpublished-typefaces-designed-by-italiantype-designers-under-30.

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