Monte is a private concept party held in the countryside outside Bologna, where Weather Report, DJ crew, has its own residency. Since 2023 I have shaped its visual identity myself and designed every poster the event has put out.

Over the years Monte has changed its sound and its look more than once, and the artwork has followed each change. The early editions were built on synth-driven electronic music, so the posters used flat, saturated colour and bold graphic surfaces. Today the dancefloor runs on a more instrumental side of electronic music, rooted in the late ’80s and ’90s. The posters have gained depth along with it. They are more layered and textured, and they openly borrow from the post-punk and new wave flyers of that era.

As part of the collective, we also handled the backdrop and the stage of the venue. Together we sourced and built the DJ booth, the lighting setup and the animated projections that shape the space. That meant bringing in electrical experts for the wiring and craftsmen to build the DJ booth table.

The Yard is a DJ crew born in 2025, throwing parties at Baumhaus, Bologna. The name comes from the place that hosts it: a venue near the city’s railway station. There, the graffiti culture that left its mark on Bologna’s history meets the city’s long tradition of electronic music.

The parties run mostly through the winter, indoors. As part of the collective, I’ve helped organise every one of them. Musically, The Yard moves between deep house and progressive house, and all the ways late ’80s and ’90s instrumental music feeds into them.

The space also lets the crew go beyond the dancefloor and use subculture as a way to bring people together. That has meant fashion workshops with young collectives from the city, and a screening of Going Underground (Lisa Bosi, 2024), the documentary on the Gaznevada phenomenon.

Self-taught on the Adobe suite, I got hooked on lettering in high school, from graffiti to script and blackletter. Since then I’ve always looked for the best way to bring my work from paper to digital, experimenting along the way and trying out every style and marker I could get my hands on. At the end of high school, as an experiment, I developed two typefaces around two different ideas.

Barletta: the name came about by chance. It’s a blackletter typeface built from scratch, from the first sketch to the final vector file.

A cover redesign for Luca Barcellona’s 2012 book. I’m a lettering obsessive myself and fully agree with the title, so I wanted to translate it as literally as possible. The result is a geometric script that demanded precision at every stage. Every curve and cut had to be balanced almost to the millimetre, first by hand and then again in the move to digital. Pleasure, taken seriously.