Cover / a brief overview of my latest projects / a description of my design process / my verticalities / quick links to my contacts /
AB/GD
AB/
GD
I am a graphic designer with a deep specialisation in the design of digital products and user experiences. I base my design method on the valorisation of the complexity that each project contains within itself, on its cultural value and on the simplicity of the solutions that that complexity determines. Exactness and essentiality, logic and rigour, expressiveness and colour are the guiding values I rely on to approach the choices each project requires.
I despise the word creativity - better: I am suspicious of its use. Due to my training and design philosophy, I tend to pay a lot of attention to the fundamentals and basic elements of graphic design. The point that becomes a line as it moves, the line that becomes a surface as it moves, the surface that becomes a volume as it moves, these are the only tools of which I wish to have complete control.
2016-2026
Portfolio
Currently working on
2024
Mauto museum
/ p. 07
UX/UI
2025
Parallel
/ p. 08
IDENTITY
2023
Clouden golf club
/ p. 09
UX/UI
2024
Petruzzelli theater
/ p. 10
IDENTITY
2024
Metodico magro scapolo
/ p. 11
GRAPHIC
2022
Giulia Loi artist
/ p. 12
UX/UI
2022
Sea waves poster
/ p. 13
GRAPHIC
2021
Ooka device
/ p. 14
UX/UI
2024
Making mistakes poster
/ p. 15
GRAPHIC
Those contained here are the projects that I believe most represent my way of designing digital and non-digital products. Due to disclosure restrictions imposed by commissions, I cannot show many of my other projects, but I can show the outputs privately by contacting me at the addresses below.
/ see all works /
My design process
/ briefing /
/0.1
/1.0 research
The first research phase is essential to assign a precise rationale to all the choices the project will later require. It defines the "whys" of the project. It is often the most sacrificed phase when time and budget are tight, but a project without initial research is a project that has no basis, or has an unstable basis, and therefore, in some way, its fate is determined from the outset.
I therefore always try to allow due space for the research phase, which often takes up a considerable part of the design time. It is the most difficult phase to account for, and one almost feels guilty if the research is too long. However, well-done research will speed up the subsequent stages.
/2.0 EXPLORE
The main purpose of the exploration phase is to exhaust all the possibilities opened up by the project to the greatest possible degree. I produce a large number of sketches in this phase, with varying levels of fidelity and definition, without paying too much attention to quality, and rather working as quickly and instinctively as possible.
At this stage I consider it useful not to set myself any limits of technical feasibility, budget, time or resources. This is because I consider it my responsibility to inform the client of the possibilities opened up by his project and the possible additions that each possibility requires.
/3.0 define
The definition phase is the phase of choices. In relation to the possibilities opened up by the exploration phase, this is the time to put on the table all the feasibility limitations and requirements, the goals to be achieved and the preferences expressed in the briefing phase.
Personally, I think it is very important to let ideas settle and specific time windows pass before deciding whether certain paths are worthy of further exploration or are potential dead ends to be avoided.
/4.0 test
Tests and final validations concern usability in the case of digital products, or the appropriateness of the communicative message in the case of graphics and branding products, for which I verify that the communicative clues are interpreted correctly.
The final tests open up several subsequent iterations on the project. Each iteration validates the success or failure of each of the previous phases.
Iteration refines design, a two-way vertical process of feedback and improvement that evolves ideas toward optimal solutions.
/0.4
/0.5
/0.9
/1.2
/1.3
/1.6
/1.7
/1.8
/2.3
/2.5
/2.7
/3.1
/3.2
/3.4
/3.6
/ design philosophy /
Designing for me is finding problems. Problem seeking is underestimated compared to problem solving. No one today wants to talk about creating problems, but a problem approach is essential for a meaningful design.
Although the most appropriate design method is often difficult to balance with constraints of time, budget, and available technical resources, I believe it is the designer's responsibility to make clients aware of the importance of a problematic approach to design, especially where resources are limited. On the other hand, limits are the real drivers of creativity, just as a limitless canvas is every artist's nightmare. But the correct definition of limits is only possible with a correct definition of the problem.
I recognize myself in Massimo Vignelli's design philosophy "Design is one." The search for solutions to well-defined problems is constituted as a unique method that can be applied to all areas of design.
