This app was designed to promote Milan's visual identity through a useful service that provides tourist with informations and keeps citizens updated with events and shows. The visual lexicon is borrowed from Milano visual identity project. Verticality is emphasized to visually match with the rest of the identity project. The layout is clear, simple and usable still retaining lots of visual power.

This identity for the Rochester International Jazz Festival, is designed to retain the vibrance and excitement of such a crowded, chaotic event trying to remain simple, usable and visually impactful. The visual lexicon picks only a few simple elements like RGB+WK, 45° angles for typography and BW photography to convey the atmosphere of the event and be quickly memorized.

This App restyling for SoundHound is designed to show an appropriate approach to UI. Visual distractions have been minimized, information has been structured into proper grids, usability has been maximized. The logotype (set in Futura) conveys solidity and simplicity, but also brings a sense of humanity and easiness thanks to its round letterforms.

Sorgente Natura is the largest online store of natural products in Italy. Together with my colleague Michael Gagliano, we designed an identity and a website that could make it stand out from alike marketplaces. The website, based on a modular grid that allows for consistency throughout, allows for the organisation of the many categories and products in a simple and uncluttered way that is still uncommon in such kind of websites.

A rather extreme bi-chromatic approach was taken while designing this app for Vodafone. The red color invades the screen surrounding the user with the company's look and feel. Typography coupled with minimal information graphics and the high contrast between dimensions all work together to covey simplicity, functionality and beauty.

The restyling for Benetton's app aims at resolving visual disorder, maintaining the exact same structure yet making it look simpler, colorful, playful and minimal, just like the rest of the company's visual identity.

The Visual Identity Design project for 'Avris, The finest Italian Espresso' comes from a simple idea: superior food needs quality design. Following this concept I realized an appropriate typeface, variation of the legendary Didot, that could convey the luxury and aromatic perfection of the finest coffee. Gold and dark brown complete the visual lexicon. Typography is composed of its own serif typeface and a modern, sans serif one, reflecting the brand's attitude: Traditional but also High tech and quality driven.

The project includes Type Design, Logo design, Graphic Design, Packaging Design and Interior Design. It was realised with my colleague Michael Gagliano.

This identity project for the City of Milan, developed with my colleague Michael Gagliano as our thesis project, was born from an observation of Milan's current communicational context. With a traditional mark that is very hard to distinguish from the city's historical seal, the actual communication system lacks unity, memorability and visual power.

The first thing that we had to do was devising a new mark that could powerfully identify the city and its values, as well as being simple and memorable. The solution is purely typographical, which is an innovation for the modern city of Milan that, regardless of its evolution, has always been represented by a traditional mark. The choice of using the letters MI instead of "Milano" aims at stressing internationality: MI is read in the same way both in english and in italian.

Milan is an international city with a strong tradition. The new mark takes tradition into account as well: by virtue of its vertical positioning, the letters MI form a shape that is a nod to the symbol of the Milanese snake, the most iconic of Milan's many historical symbols.

The applications fall into two categories: institutional and promotional. Institutional communication is characterised by the more neutral color white, with red as secondary color. Promotional communication is instead completely covered in Milano's red, for maximum memorability.

Following a careful audit and analysis among many citizens and city users, we devised six macro-categories that could embody all the main aspects of the city: Culture, Design, Fashion, Music, Entertainment, Sport. We gave each category a color for identification purposes. We used this system to develop all the promotional communication, particularly the posters.

The posters are composed of two halves, one more institutional with the new mark and a short copy and one photographical, representing the face of a person who has given a strong contribute to the field he's called to represent. In between the two halves is a rip. The rip is an ambiguous device that captures the attention. Was the poster ripped? The poster could have been all red and later one half removed, to reveal what's under the institutional face of the city: its fields of excellence and its people.