Studio Boggeri for me was very important. For myself personally, but also for the history of graphic design in Italy. When I was 20, 25 years old, it was just like a bottega, because I worked directly with Steiner and Boggeri.

Albe Steiner was a very important person for my formation because he was my teacher. This poster was my first inspiration. I learned a lot, particularly the ethic of my work, because what he was teaching is to believe in what you do and be honest with yourself and with your client. And this for me was even more important than learning how to design a logo or a book.

First of all, when I speak about graphic design, first of all, always respect the canon. Do you know The Canon? Vignelli? The book? So, you start from there. See what are the good characters. The typeface. The right colour. The right grids. That's the base.

El Lissitzky said you don't need too much, the logo I designed is very simple, but to arrive at simplicity, that's the difficulty, and when you've achieved that you can say that I did something - good design.

It's immediately understandable, but there is also ambiguity as I told you before. And it takes you a few seconds and you start to understand. After you start to read vertically and horizontally. And it sticks in your mind. And that's exactly what you want when designing a logo. And that's why I love it.

“The ‘t’ for Futura is like a cross, and that matched perfectly for my need to show a cemetery particularly. It’s a very strong image, somebody told me it's very sad. That’s what I want! I don't want to amuse people here, I want people to be impressed and to think. So that's why I chose Futura."