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The collective was established in 2004, when five young professionals working in the areas of graphic design, illustration and photography decided to pool their resources.
Winning a mention for Communication Graphics at the Iceberg 2007 competition run by the City of Bologna, the collective’s work has included curating the communications and graphic design for such events as Arezzo Wave/Italia Wave, Elettrowave and Jazz In It, as well as the co-ordinated image, communications campaign and materials for Imagine iT 2008 and Smart City.
The fields covered by the collective range from publishing to fashion, archigraphics and theatre design.

How do you go about delineating the studio’s work in the midst of the various fields of work and competence covered by your group’s members?
As we all started out from similar backgrounds in the area of graffiti writing, which has enable us to develop a broader approach and to apply ourselves to a series of professional fields that do not stop at the boundaries of graphic design, each of us has evolved personal experiences and research over the years that we can add to our base of shared skills. From illustration to photography and from typography to painting treatments, we have tried to develop different skills and abilities, so that, once we have completed the first phase of a project working together as a group, we can then pick and choose them and use them as they suit the type of job in hand.

What are the ‘ingredients’ of your approach to graphic design?
The first thing is that we experience our craft with enthusiasm and we actually enjoy what we do. That being said, our approach focuses on the problems of communication that need to be solved, trying not to put any aesthetic style in front of the real communication needs.
We believe it is crucial to work on the dynamics of things, aiming at the heart of the problem: our various different skills put us in a position to get an overall picture that often turns out to be very useful, enabling us to maintain a balance between manual work and using the computer, which we consider to be no more than an excellent tool. So I suppose our ingredients are enthusiasm, lateral thinking, continuous updating and a “craftsman’s approach”.

How important is the choice of materials, techniques and supports in your projects?
It’s absolutely vital. We believe that the choice of supports and techniques should be treated as a thoroughly integrated part of each project. We usually already try to evaluate the aspect of materials in the design stage, analysing them both from a technical point of view, in terms of durability, quality and usage, and from an aesthetic and conceptual standpoint.
Although there is no doubt that some products are influenced more than others by paying more attention to materials, we are convinced that it is the care paid to every aspect that determines the quality and success of every product, from the simplest flyer to packaging.
Every element involved, whether it be image, colour, support or potential processes, must tend towards a common goal, which is the very expression of the idea and of designing.

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