In 2021 Parco Studio was invited to the ADI Museum Design project curated by Luca Molinari: “Manifesto alla Carriera. Tribute to Italian graphic designers to the Masters of the Compasso d’Oro”.
We were glad to interpret Ezio Manzini’s contribution, who works in the field of sustainability design, with a particular interest in social innovation, processes and the consequences of design on society, topics related to our professional and personal profile.
The manifesto is about his key concepts: “everybody designs”. We developed it in a typographic key by designing a lettering that reflects the freedom of the sign and the need to integrate individuals and institutions in the design process.

Fingerspelling.xyz is a browser-based app that uses a webcam and machine learning to analyze your hand shapes so you can learn to sign the ASL alphabet correctly. When you sign the word, the camera tracks your hand movements and gives you feedback so you can make corrections as needed. This helps you quickly develop your fingerspelling skills. To address language deprivation and help bridge the communication barrier between the deaf and the hearing, we partnered with the American Society for Deaf Children to create Fingerspelling.xyz.

While Germany was dealing with COVID-19 the situation arose that the corona regulations were changed so often that people no longer knew which rules were applicable at the current time. This led to a confusion that only a minority of people knew if shops were open or closed and what rules were applicable. The poster I made is dealing with this confusion. It is saying “Wenn offen is, is offen wenn zu is, is zu!” which is translated to: “If it’s open, it’s open if it’s closed, it’s closed!”

SOL font is based on two outlooks on the distant future that Stanisław Lem might have lived in between of: a more optimistic outlook in Western retrofuturism he was critical of and a more pessimistic outlook that has been more common in the Eastern Bloc. The more fluid Retrofuturism style has an emphasis on the Y axis that represents the vertical aspirations of man. And the more strict Brutalism style is based on Symmetriad designs found on various Solaris book covers and film posters. The font was designed during a 2019 International Variable Type Workshop conducted by Verena Gerlach and Maciej Połczyński. The name SOL is derived from S.Lem’s sci-fi novel Solaris and the Latin word for Sun.

A series of 80 posters developed for event location Merlin in Stuttgart.

Magnete is a new cultural center in Milan, a unique space of relationship and plurality and culture in the Adriano district. Magnete is art, live performance, training, robotics, work orientation, good food, social and work inclusion, innovation – everything in a big square, a market, a stage, a laboratory, a café, a place of experimentation open to territory and the city.
The typeface is all about the variety of people working within Magnete, everyone is welcomed and invited to participate.

Hordak has been named after He-Man and She-Ra’s nemesis, since they sort of share the same overall look and of course the same bad attitude. Hordak is a variable font developed in collaboration with Leonardo Landoni and soon to be released.
The story behind this font started at the opening event of our new space Parco Gallery in 2019 and turned into a real font during the Covid-19 lockdown.

“Das Runde muss ins Eckige” was originally pronounced by Joseph “Sepp” Herberger right after winning the World Cup in 1954 and it means something like “The rounded thing must get into the squared one”. We teamed up with Palazzi.Club to turn this sentence into a series of five deadstock Nike football t-shirts from the nineties. Each t-shirt is unique and displays a different custom lettering on the chest. All over the t-shirts you can also spot some tiny details of embroidered handwriting.

A font created in code editor, using only ▒ _ ( ) / \, and with unconventional type design rules that are inherent in editor mode.

«Popova»

Spatial Power Font, 2021.

This modular typeface was designed in 2021 as part of the international evening school for workers and students «BAUHAUS / VHUTEMAS. Twenties to Twenties».
The typeface has an experimental design allowing to assemble the monograms from overlapping letters. The idea of the font is based on deconstruction and analysis of volumetric and spatial compositions of the Soviet avant-garde artist Lyubov Popova.

This typographic composition represent the word ‘solatio’ (‘sunny’ in italian). The repetition of the individual letters creates a broken composition, gradually more confused, more complex and disordered resembling the abstract form of rays and refraction of solar light. The design was created for a personalized scarf, perfect for shelter from the sun.

This is a page f my upcoming zine Victor. This project presents compositions that resemble a pattern, but the catch is that they’re all generated by AI, and the lines that compose the pattern are taken from music soundwaves and then turned into that composition. The soundwaves are from Tyler’s album IGOR. The chaotic results from Processing were mixed and matched over grids, thus creating letters and numbers. It’s the contradictive chaotic nature of the practice and the attempt to form relatable shapes and forms by using a grid that creates these engaging compositions.

we have designed a combined bio-typographic system with a straw brush for a space built with bio-architecture (straw and mud).

This is a display modular typeface based on a 4×3 matrix.  
It works in a phrase or word and visually reveals its meaning. Depending on the word, the form of type can enhance it and make the image more characteristic and powerful. For example, a word can become visually scratching, or even, swift.

An ascetic matrix gives a great variety of forms and images. Since this typeface is based not on the material but the module, some letters can have an unconventional grapheme, nevertheless readable.

Explorations of pixel type and colour originally done for 36 Days of Type.

We love to play with the typography in the 3D area pushing the boundaries and discovering possibilities with new media.

We love to play with the typography in the 3D area pushing the boundaries and discovering possibilities with new media.

We love to play with the typography in the 3D area pushing the boundaries and discovering possibilities with new media.

We love to play with the typography in the 3D area pushing the boundaries and
discovering possibilities with new media.

This poster was created for the concert of the Swiss band „Prinz Kamal Khan“ at the Neubad Klub in Lucerne (CH). The poster visualize their wide and experimental soundscapes somewhere in-between Jazz, Psychedelic Rock and Techno.

This is a display modular typeface based on a 4×3 matrix.  
An ascetic matrix gives a great variety of forms and images. Since this typeface is based not on the material but the module, some letters can have an unconventional grapheme, nevertheless readable.

Ich sollte ein Logotype für eine KiTa gestalten und beschäftigte mich mit der Frage, wie Kinder, die noch nicht lesen können, Schrift wahrnehmen. So entstand die Idee für meine „KiTa Time“ mit ihren fünf Schriftschnitten, „Punkt“, „Kreis“, „Komma“, „Strich“ und „Fertig“. Streng geometrisch konstruiert und in ihre Grundformen zerlegt, entstehen aus den Buchstaben Bauklötze und aus dem Schreiben wird ein Spielen, bei dem Muster entstehen, die zwar Wörtern ähneln aber keinen Inhalt transportieren.

Die LUNIK enthält 29 Schriftschnitte, einen für jeden Tag einer Mondphase. Die Schriftschnitte wurden mithilfe einer vereinfachten Nachbildung des Sonnensystems in CINEMA 4D erzeugt. Dabei wurden dreidimensionale Buchstaben anstelle des Mondes platziert und von der Erde aus betrachtet. Auf diese Weise konnten die 3-D-Buchstaben um die vierte Dimension (die Zeit) erweitert werden. Mit einer simplen Processing-Programmierung entstand eine „Zeitschreibmaschine“, mit der sich der LUNIK im Laufe der Zeit verändert.