In 2016 I co-founded Panama, a communication agency that loves exploration and big brands, the ones that stay in your head like a Pharrell Williams’ song. Panama develops original contents for international brands, alternating classical complexity and jazzy rhythms.
I recently helped to design and direct Canàl, a magazine that looks like a kaleidoscope. There are ideas that come from faraway and less explored countries. Canàl talks about brands, marketing and communication. Also about flags, carousels, drinks and penguins.
At the end of the day I collect some notes on typography and visual culture in Controforma, with no technicalities, I promise. The drawing of a font often tells a whole story and offers a snapshot of our society. If you get a little closer you can really see there is a world inside.
In summer 2016 I co-founded Panama, our communication agency. Our office overlooks the street through a huge liberty window, a real attraction for tourists that makes us a little proud. Over time, Panama has supported nascent brands and communication initiatives of larger international groups.
The agency has supported many realities in communicate themselves with transparency and innovation, creating lasting valuable relationships with their public. Making branded content means reflecting on the real intentions of the brand and requires a great effort of sincerity, which always pays off. It is the choice of a narrative model that requires and stimulates greater corporate awareness.
Canàl was born when we tried to observe what happens beyond borders. It is a magazine that collects international news on brands and marketing. It is a kaleidoscope of ideas that come from apparently more faraway and less explored countries. It helps to broaden the gaze and find new references. The editorial board counts on many people scattered and always on the way, they collaborate on the project with beautiful words and illustrations. We have got long-time partnerships and some new friendships.
Inside Canàl there is room for opinions on today’s headaches, called Oblò. It is a section curated by industry experts and professionals from other fields, to reflect on brand communication and its related worlds. Among other things, Oblò talks about the obsession with bodies, the sexism of artificial intelligence and the first rebranding in history: the potatoes rebranding.
At the end of the day I collect my thoughts in Controforma, some kind of a living room where I can talk about a very technical topic without technicalities: the beauty of typography. Font design, despite being a not very showy art, always tells a story and has a real impact on people. Letters are the basic element of our communication, the way in which they are drawn allows us to have a certain tone of voice and guide the emotionality of a message. In the details of each typeface there is a snapshot of our society. Looking at it closely you can perceive the hands, tools and thoughts of a specific historical moment.
From time to time I collaborate with Artribune, where I have the opportunity to publish some broader thoughts dedicated to the ultimate targets of the communication that we write, draw and decide to send around every day.
This March, during the famous first lockdown, as many of our professional certainties started to fluctuate, I had the pleasure to speak with Mauro Porcini, SVP & Chief Design Officer of the PepsiCo group. We observed the spontaneous reaction of the creative community to an obstacle that had never appeared before. Our chat resulted in an interesting interview where the profound meaning of our work was questioned, to remind us of the great power of images: tell the moment.
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