Pittogramma

Despite Italy's illustrious origins in the field of typography, the discipline of type design still seems to be lagging behind in our country. In your opinion, how could this situation be improved?

There is a lack of structured and widespread courses in the territory, especially when it comes to typography and lettering. Considering the number of schools and courses related to graphic design, it's surprising that there are few or no courses specifically focused on typography or lettering. Certainly, economic accessibility also plays a role.

Your projects range from digital works to print, fabric, and even stone. How do you approach dealing with these different mediums, and how does this choice characterize your practice?

For me, each medium presents a challenge and requires a different approach to be tackled. I believe that designing involves not only planning but also allowing materials and various techniques to guide one towards a direction, to face certain difficulties without preconceived impositions but with a spirit of exploration and curiosity.

I decided that there would be no boundaries in methodology. This certainly entails more effort on my part in managing, even in terms of space, different working settings. A very practical example concerns logistics; I have a desk for the computer, a small space for engraving, and a table for painting. I couldn't imagine myself away from here; I need to know that if I open a drawer, I'll find the small parts I need for a stamp or a tray to do marbling tests.

Moreover, I'm one of those people who need to set varied tasks, ranging from more mental to more physical engagement, distributed over well-defined time slots. When I sit at the computer all day, I don't have the same satisfaction as when I divide the day into different types of work.

The figure of the type designer is ancient but has gained renewed relevance, especially with the opportunity to work remotely. What do you think is the reason for greater consideration of this discipline in recent years?

The breaking down of gatekeeping barriers.

By participating in numerous lecture series and conferences both in Italy and around the world, you have the opportunity to compare various realities and cultures. In your opinion, are there still gender disparities in the world of design in general?

Yes, it's quite evident. Despite efforts within the design world, there is a need for broader and more pervasive change within society, and unfortunately, this takes time.

You work on some projects with your husband, Marco Romano. How does your collaboration work, and how do you influence each other?

We have learned to recognize points of friction and manage them. Certainly, living and working together under the same roof subjects us to much more intense pressure, both personally and professionally. From my point of view, there is a deep respect even when we have differing opinions; this pushes me to improve, to try a path that I wouldn't have imagined without such a discussion. We both love working manually; I believe it's the thing that both unites and complicates our life and our home-studio.

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

It seems to me that there are very different realities, both public and private, where there is a mix of great care and disarming negligence. I notice that strong disparities are also created due to the geographical location of certain institutions.

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

I wouldn't know; perhaps it's best to ask a "real" young person! I would like to see an interest develop towards community involvement and the role of graphic design for public utility, moving away from self-centeredness.

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

I hope they become an attractive person who approaches design practice with respect and listening, even if it's not reciprocated. I hope they can take even just one step forward every day without feeling defeated or worthless.