Pittogramma

Having started your career as a graphic/web designer in the 2000s, you have witnessed much of the evolution of the digital world. Today, where digital is indispensable in our lives, especially for designers, how do you believe AI can influence and contribute to the growth of our profession?

It's extraordinary to observe the technological evolution of the last twenty years. This period represents a decisive historical phase for the future of our society, similar to what the internet was for all of us 25 years ago.

In my daily life as a designer, I make extensive use of tools and services that amplify and enrich my skills. Here are some concrete examples:

Thanks to artificial intelligence, I can analyze enormous amounts of data to identify hidden patterns and trends. This results in quick processing of current trends, allowing me to easily access relevant resources for each specific topic. This knowledge influences design decisions, leading to more intuitive and personalized experiences.

AI becomes, essentially, a valuable assistant in brainstorming, ideation, and real-time idea refinement, proving extremely useful.

Speaking of design tools, we are witnessing tremendous progress:

- Automation of repetitive tasks such as exporting assets, documentation, guidelines, and prototyping.

- This saves time for more strategic activities, such as creative research and user analysis.

- Translating design ideas into code helps bridge the gap between design and development.

- There is a democratization of design, with increasingly accessible tools that allow the designer to act as a director rather than an executor.

- Personally, I use various tools for image generation and manipulation such as Midjourney, Runaway, Pika, Leonardo.ai, Adobe Firefly, etc., both for the role of art director and photographer. I find these tools extremely useful for generating ideas and improving my photographs.

Overall, AI is a valuable support for designers, greatly enhancing our capabilities. However, it is crucial to remember that it does not replace human creativity and artistic direction, aspects that AI currently lacks (but will surely arrive). Additionally, the quality of these tools is reaching levels where they can influence more basic design work, such as generating logos, illustrations, and images accessible to everyone.

The future appears uncertain, especially considering the possible arrival of Artificial General Intelligence (AGI) within this decade. At that point, the consequences on our work could be unpredictable."

Currently, the UX designer is among the most requested and coveted figures. In your opinion, does this interest stem exclusively from digital development or could it be attributed to work on the 360-degree experience, which can also extend to branding and other fields? Do you believe that the UX designer is becoming a cross-functional and indispensable figure in various areas of design?

20 years ago, there was no specialized figure like the UX designer; many were doing User Experience without realizing it: product designers, architects, artists, etc. A UX designer is a label that has been attributed to digital design, but it can be applied in any field. Indeed, now more than ever, all companies are becoming technological (industry 4.0), and a figure like ours is indispensable. There are plenty of types of UX designers... in fact, I don't even like to define them as UX designers. We are product designers; we design the product: ultimately, you are defining an experience for users, whatever the product may be (a chair, as well as an app). Returning to the question: the more "rounded" a designer is, the better. As in all disciplines. The best designers, the good ones, are also anthropologists, poets, musicians, scientists, etc. Another more pragmatic aspect concerns the career, where experience in small companies, where resources are scarce, leads you to be a more versatile and holistic designer (a jack-of-all-trades), while in large companies, there tends to be more specialization and focus in disciplines. Personally, I admire designers who have a background and a story that goes beyond just product design.

Over the years, graphic design has become increasingly relevant for Google, although in the past it may have seemed less prioritized. Recently, Google has given considerable space to graphic design with resources like Google Fonts and educational initiatives like Google Fonts Knowledge. In your opinion, is Google's attention trying to further enhance this discipline by giving importance to the content itself?

Yes, I would say so. Google has changed a lot in the last 10 years regarding product design, not just graphics. Graphic tools are a consequence of an "awakening" that occurred a few years ago (2013, with Material Design), where Google started investing resources to improve the user experience of its products with complete design systems and guidelines. Now Google is very mature from a design perspective, and UX teams are well established in every product.

What is your biggest challenge as a digital designer?

1) Keeping up with the times: technologies and trends are moving much faster than in the past, and it's necessary to stay updated as much as possible. Understanding what is coming with an open mind and critical thinking is crucial.

2) Encouraging and promoting good design among the younger generations: teaching and supporting young people is something I care deeply about.

How important is the analog world in your "digital" daily life, both professionally and personally?

We Millennials are the only "bridge" generation between the analog and digital worlds. We grew up between these two worlds and understand them well. This is a very important aspect that I always carry with me. As much as I am tech-savvy, I love collecting comics and graphic novels, listening to vinyl records, and exploring some hand-drawn illustrations. In this increasingly ephemeral and ethereal world, it's important to stay grounded in some way.

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

I preface that I don't have enough context to provide a complete opinion, but from the experiences of talks, workshops, and lessons I've been able to do over the years, there is a lot of attention to design, and schools (in the field) are very interested in delving into the topics. Italian excellence remains very strong, for example, the Polytechnic, ISIA, IED, H-Farm, etc., and many others that I don't remember!

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

Studying and working as a graphic designer in Italy is certainly interesting: on one hand, you have a very stimulating creative environment, with a lot of cultural richness and a critical, deep, and free vision of creativity. But on the other hand, you have a country where bureaucracy, mentality, and approach to work tend to slow down and reduce this potential creative explosion.

Navigating through this world could be challenging, especially with technology constantly changing while the country lags behind. As a graphic designer, it's necessary to educate your clients and colleagues and try to influence even in small ways.

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

I firmly believe in expanding one's market beyond Italy itself, traveling, living abroad for a while, and then coming back, applying what you have learned.