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Normale Grotesk

Typeface Design


Cover of the project Normale Grotesk Detail about the speciment Book cover Normale Grotesk Cover of the book Page inside the book Detail font Normale Grotesk Typeface T-shirt with printed characters


Normale Grotesk

Normale Grotesk is a font designed to work best in a text body ranging from 6 to 14 points. In fact, despite the narrow height of the letters, it is easily readable. Although the original function of this type is to be used for small texts, it can also be adapted to display bodies. This feature makes it versatile and applicable to a variety of media and contexts.


In 1943, the Haas'sche Schriftgiesserei foundry in Basel presented a sober linear typeface called Normale Grotesk, a reworking of one of the first most popular fonts of the time, the Akzidenz-Grotesk. Although this type was a very important font for the typographic evolution, with the arrival of Helvetica it was lost.

Thesis project

The thesis project has as its theme type design with particular attention to typefaces belonging to the Grotesk family. The result was to bring back to life a disused font that has made the history of the neo-grotesk style. The realization of this rejection consists in having designed 5 different weights ranging from Ultra-Light to Bold, each of which has 345 glyphs. In order to make the most of the font, 4 artifacts have been developed that present the various uses of the Normale Grotesk.

The research dossier contains all the research and design work carried out over 3 months and explains everything in detail.

An overlay has been created that not only encloses the dossier, but also opens up into a 50x70 poster that acts as a specimen with all the technical specifications of the project. The various folds allow the user to discover all the characteristics and curiosities of this character's design.

The third one, the specimen, wants to illustrate the characteristics of the font in a deeper and wider way. A 45x32 cm format has been deliberately chosen to create more contrast with the peculiarities of the font, so that the shapes of the font design can be seen in detail. All the research and development work undertaken for this project is contained in 16 pages. Lastly, a specimen T-shirt has been designed and printed.


This work was produced as a thesis project during the Bachelor in Visual Communication at SUPSI, Switzerland.
Advisors of the project: Luca Pellegrini and Andrea Bocci.

Shapies AR

Augmented Reality


Shapies AR app for tablet Augmented Reality demo Augmented Reality gamescreen User test with the app A kid with Shapies AR on tablet


Shapies Augmented Reality Game

Shapies AR is an augmented reality educational game designed to be used in primary schools by children and teachers. The game allows children to immerse themselves in augmented reality and discover topics related to technology and some concepts related to computational thinking through the gameplay. Teachers can use the application to support their lessons on technology, introducing interesting topics in line with today’s society. The topics can be introduced in different school subjects and the game integrates into the teaching with the possibility to create specific learning activities. Augmented reality is a cutting-edge technology that allows digital content to interact with the real world and create unique experiences for children, who can immerse themselves in the discovery of an augmented digital world.

Interface and Interaction modality

The interface of the game mainly consists of a panel from which you can choose the instructions to be placed in the game through the buttons, you select the direction in which you want to move the character and click on the screen to place the plate. Once the instructions are placed you can start moving the character with a play button and stop him with the pause button. The interface also includes a part of settings where you can reset the game, choose two modes according to the size of the place of play and reposition the character.

User Experience

The game has been designed with the aim of integrating computational thinking within an immersive experience designed to deal with educational topics and suitable for the school sector using contemporary technology. The interaction has been designed so that the child does not need to take his or her hands off the screen and therefore risks dropping the device. An attempt was made to create a simple interface and design the game content in a flexible way suitable for different environments.


The application was developed entirely with Unity, a video game development software. It was used in particular ARFoundation and Unity MARS for the realization of the prototype. The game is developed for IOS and can be played with an Ipad with ARKit installed.

Research and Development context

Shapies AR is designed to be used in schools, but can also be easily adapted for the private sector and be played freely at home. In the future it will certainly be important to develop a collaboration with teachers and schools to be able to be adapted to the school curriculum and to generate different types of content related to the world of technology and computational thinking.


This project was funded by the Leonardo Foundation and developed as a thesis work for the Master in Interaction Design at SUPSI, Switzerland. With the support of the advisors: Serena Cangiano, Lorenzo Romagnoli and Lucio Negrini.

Spider Plotter

TUI, Arduino


Spider Plotter image of the object Spider Plotter a detail Interaction modality with the prototype On and Off button Arduino sensors Spider plotter logo laser cutted on wood Explanation chart of the project Arduino wires design


Spider Plotter

Spider Plotter is a group school project realized at the Master in Interaction Design during the course: Creating Tangible Interfaces with teacher Ubi De Feo. A video of the project can be found here.


After about a week of learning the basics of Arduino, we were given a brief for the final project that required us to create a plotter machine that worked on inputs from the user. After initial brainstorming sessions, we decided to work on a plotter machine that used proximity sensors as its input. The plotter would plot a drawing or navigate through a maze, based on the proximity of the user’s hands from the sensor. The inspiration behind the idea was a popular game known as the Vertical Labyrinth.


We began our development by studying and understanding similar plotter machines that students had built. After understanding the main components we required for the project, we began building an initial prototype that worked in principle. The prototype gave us a clear idea of what worked well and what could be improved. We then tweaked all the aspects of the protype and created a functioning plotter. After testing the prototype multiple times, tweaking the code and electronics, and then retesting it, we finally proceeded to build a body for the plotter. The body for the Spider Plotter was built entirely with panels of wood that were laser cut and fixed together like a puzzle.

Interface and interaction modality

The Spider Plotter is similar to the Vertical Labyrinth in the sense that it is a vertical game and requires user interaction in order to plot or navigate through a maze. It has only two buttons – the on / off button and the reset button. The body of the plotter has a TOF sensor on either side. The sensors control two stepper motors that can rotate in clockwise and anticlockwise directions in order to move the plotter head, that has a pen attached to it. The ability of the two motors to move in either direction is what controls the plotter head to move around. The pen that is positioned at the centre of the plotter head, draws along the canvas as the plotter head moves around. The Spider Plotter sets itself apart by working entirely without any physical contact. All the user has to do is move their hands closer or further away from the sensor on either side of the body, and the plotter head moves accordingly. The Spider Plotter has an intuitive learning curve, where users can understand how to play with it without much prior instructions.


This project was carried out at the Master in Interaction Design at SUPSI. The authors of the project are: Artur Strupka, Anne Kwaro, Michele Cutolo, Rishabh Hattikudur.

Where Flowers Bloom

Magazine, Editorial


Tote bag and magazines Where Flowers Bloom Cover design Inside magazine detail A page of the magazine Detail on font Cover of the edition number two Reza Khatir Photography A detail of the page inside


Where Flowers Bloom

This publishing project aims to emphasize the propagation of interdisciplinary art collected in the Ticino soil, which, despite the various geographical, linguistic, resource and other limitations, is full of talented young artists who struggle to establish themselves in the shared and recognized art scene even beyond the borders of the canton.

The magazine is a medium that can be used by all, allowing the various artistic talents of Ticino to be put on display. The aim is to make new emerging Ticino artists known and flourish, hence the name of the magazine. Each edition is unique, with different graphics, layout, printing and binding. At the moment two editions of Where flowers bloom have been published.

In the first one, the marbled paper and the handmade binding give each single magazine a unique imprint. Inside, 5 artists show and discuss their creations. For this edition there is also a WFB branded tote bag.

The second is a larger collection of artwork that varies in different areas. There is also a photographic project by a well-known international photographer, who supported and supported the project entirely in Ticino.

Lista della Sinistra

Brand Identity, Photography


Lista della Sinistra cover Logo design Political Journal design Inside detail of the magazine


Lista della Sinistra Losone

Lista della sinistra is a political party present in Losone, Canton Ticino in Switzerland. In 2019 our firm was contacted to redo their visual identity in a comprehensive way. It was therefore decided to change the logo and create a visual identity belonging to the territory where the group is active.

Logo Design

The logo was designed inspired by the geographical location and was chosen by the group on the basis of various options proposed. The shape chosen is also representative for its flag shape, a historical symbol rooted in political reality.

Promotional material

During our work on the new brand identity, we also created the respective social networks, the website and political voting material that was used during the cantonal election campaign in 2019. You can find their website on this link

Goncia Sans

Type Design, Poster Design


Poster Goncia Sans design Poster detail Close up on the typeface Poster displayed outside Front part of the poster Goncia Sans Poster about typeface


Goncia Sans

During a week-long type direction workshop with Michael Zender from studio Africa, a typeface inspired by the shapes and characteristics of social writing was designed.

The word onciale describes a precise type of handwriting that developed between the 3rd and 4th centuries of the Christian era and was the writing par excellence of illuminated manuscripts, better suited for pen and parchment, which replaced papyrus.

The Latin onciale is characterized by its curves. Inspired by the curved rods created by the nib and the Indian ink, a contemporary font has been studied and designed. It is characterized by an evident difference in thickness in the rods, the oblique axis and the non-homogeneous curves.

Given the last time available, only lowercase letters and numbers are present in this type. To highlight the characteristics, make the font stand out and present it to the commission, a specimen F4 poster has been designed.



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