From Wikipedia: the Giants of Monti Prama are ancient stone sculptures created by the Nuraghic civilization of Sardinia, Italy. Fragmented into numerous pieces, they were found by accident in march 1974, in farmland near Monti Prama, in the Comune of Cabras, province of Oristano, in central-western Sardinia. The statues are carved in local sandstone and their height varies between 2 and 2.5 meters. This label I did in 2015 for Accademia Olearia – one fo my oldest clients, whom I did the company logo and, with Roberto Boassa, the naming – refreshes the first label I designed many years ago, a very typographic label with the word OLIO (olive oil in italian) which formed a smiling face. Now the shape of the bottle offered me a new opportunity to dedicate this exceptional olive oil to one of the most important cultural heritage of the island.

gran-riserva bbbb-e1470317170183Monte-Prama


This is a poster for a meeting about the complex figure of Pavel Florenskij, a Russian Orthodox theologian, priest, philosopher, matehematician, physicist, electrical engineer, inventor, polymath and neomartyr. The title, “Pavel Florenskij beyond Hamlet”, is a way to discuss the central role of Florenskij on Antinomy, and its links with Shakespeare’s poem and its meaning. A philosophy which takes uncertainty, the vibration between “to be” and “not to be” as the only way to try to understand the world. A philsophical attitude very close to the position of modern physics. So, the big question mark, that Shakespeare even doesn’t use to ask the most deep question of the Occidental philosophy, takes the role and the face of Yorick’s skull.

[ Questo è il poster per un congresso sulla complessa figura di Pavel Florenskij, teologo, sacerdote, filosofo, matematico, fisico, ingegnere elettrico, inventore, studioso eclettico e neomartire russo. Il titolo, “Pavel Florenskij oltre Amleto”, è un modo per discutere il ruolo centrale di Florenskij sull’antinomia, e le sue connessioni con Shakespeare e il suo poema. Una filosofia che prende l’incertezza, la vibrazione fra l’essere e il non essere, come l’unica possibilità  di ricerca della comprensione del mondo. Un atteggiamento filosofico molto vicino alle posizioni della fisica moderna. Il grande punto interrogativo, quello che Shakespeare non utilizza per porre la domanda più importante della filosofia occidentale, si trasforma così nel teschio di Yorick. ]


“The Centro interdisciplinare di ricerca sul paesaggio contemporaneo has launched an appeal to artists and visual designers of international renown intent upon gathering their viewpoints on a phenomenon currently plain for all to see: the migration of men and women fleeing war, misery, overwhelming strife… The result is the great poster collective exhibition Freedom Manifesto / Humanity on the move whose objective is to raise awareness about, and urge, new perceptions concerning a topical theme of great importance: immigration…” The exhibition is now up at Centrale Montemartini, in Rome. I designed this poster, where the symbol of migration, the foot, faces its alternative meaning of freedom, and shows the pain of a mother and her children. Nobody knows if they are leaving home or waiting for someone coming back home, but it is not important. The sadness for something missing is the same.

piede migranti per sito x


Here it is, finally: my first typographic rugs. It is the completion of a research work of years, as evidenced by the pages of this site. The experimental test. I have baptized them with “Tavoletti” because they have something to pay to Eugenio Tavolara and Alighiero Boetti (and because of the sardinian term “tauleddas”, tavolette in italian, which designates the small Sardinian tapestries). They maintain the geometric rigor, the recursive counterpoint typical of the Sardinian textile tradition, but add to the typographical element, which introduces a further level of reading, surprise and customization. They are the product of an algebra in which element matrices are subjected to inversion, rotation, symmetry, overlay, etc. to form the ornament. A graphic that can be used in its serial abstraction and, at the same time, a typography that can be read and understood.

They were made by Maria Antonia Urru for two couples, Luisella and Michele, Riccardo and Annalisa (highlighted in yellow and magenta in the third picture), to whom they were given by my friend architect Marco Tradori, who commissioned me. In the first one, Luisella / Michele, the composition is perfectly symmetrical, on two orthogonal axes. In the second, Annalisa / Riccardo, there is also an overlapping of the two names, which generates new geometric motifs. For the moment they are almost monochromatic, but the next (which will be realized shortly) will play with colors and size scale.

[ Eccoli, finalmente: i miei primi tappeti tipografici. È il coronamento di un lavoro di ricerca di anni, testimoniato dalle pagine di questo sito. L’evidenza sperimentale. Li ho battezzati Tavoletti, perché devono qualcosa sia a Eugenio Tavolara che ad Alighiero Boetti (e per assonanza con il termine “tauleddas”, tavolette, che designa i piccoli arazzi sardi). Mantengono il rigore geometrico, il contrappunto ricorsivo tipico della tradizione tessile della Sardegna, ma aggiungono l’elemento tipografico, che introduce un ulteriore livello di lettura, sorpresa e personalizzazione. Sono il prodotto di un’algebra in cui le matrici degli elementi vengono sottoposte a processi di inversione, rotazione, simmetria, sovrapposizione, etc. che vanno a formare l’ornamento. Una grafica fruibile nella sua astrazione seriale e, allo stesso tempo, una tipografia che può essere compresa e letta.

Sono stati realizzati da Maria Antonia Urru per due coppie, Luisella e Michele (evidenziati nella terza immagine), Riccardo e Annalisa, a cui sono stati regalati dall’amico architetto Marco Tradori, che me li ha commissionati. Nel primo la composizione è perfettamente simmetrica, su due assi. Nella seconda c’è anche una fascia di sovrapposizione dei due nomi, che genera nuovi motivi geometrici. Per il momento sono quasi monocromatici, ma i prossimi (che verranno realizzati a breve) giocheranno con i colori e con i passaggi di scala. ]

luisella micheleannalisa michele 2evid arazzo tipografico luisella michele 1riccardo annalisariccardo annalisa 2riccardo annalisa PER TELAIO c


CagliariPaesaggio is an International Festival on Landscape. It takes place in Cagliari, a Mediterranean city where the presence of man lives with a powerful nature since at least three thousand years. I have designed a pattern of flamingos, which in Cagliari have their home and which testify to the symbiosis between the built and the natural environment. The 45-degree plot remembers their flights in formation but also the three-dimensional architecture. The colours are shades of pink red and grey blue: on the one hand it recalls the heraldic colors of the city, on the other the color of the salty lagoon and shadow of flamingos flying over the water.

ca paesaggio 1ca paesaggio 2ca paesaggio 3ca paesaggio 4ca paesaggio 5ca paesaggio 6ca paesaggio 7

My father, a civil servant (and a great hunter). * 4.4.1934  Ω 25.5.2017