My title is Enrico Gisana, and I’m a inventive director, graphic and movement designer.
I’m the co-founder of GG—OFFICE, a small unbiased visible arts studio primarily based in Modica, Sicily. I think about myself a multidisciplinary designer as a result of I carry collectively completely different expertise and visible languages. I work throughout analog and digital media, combining graphic design, typography, and animation, usually mixing these parts by way of experimental approaches. My design method goals to push the boundaries of conventional graphic conventions, consistently questioning established norms to discover new visible prospects.
My work primarily focuses on branding, typography, and movement design, with a specific emphasis on kinetic typography.
Between 2017 and 2025, I led quite a few graphic and movement design workshops at numerous universities and artwork academies in Italy, together with Abadir (Catania), Accademia di Belle Arti di Frosinone, Accademia di Belle Arti di Roma, CFP Bauer (Milan), and UNIRSM (San Marino). Since 2020, I’ve been educating movement design at Abadir Academy in Catania, and since 2025, kinetic typography at CFP Bauer in Milan.
Featured work
TYPEXCEL — Variable font
I designed an internet half-day workshop for highschool college students on the event of an open day on the Academy of Design and Visible Communication Abadir, held in 2021.
The purpose of this workshop was to create a primary contact with graphic design, however most of all with typography, utilizing an Excel spreadsheet as a modular grid composed of editable and variable cells, as a substitute {of professional} software program which requires particular data.
The cell sample allowed the scholars to create letters, icons, and glyphs. It was a stimulating train that helped them uncover and develop their very own design and inventive expertise.
This challenge was printed in Slanted Journal N°40 “Experimental Kind”.
DEMO Pageant
DEMO Pageant (Design in Movement Pageant) is among the world’s most outstanding movement design festivals, based by the famend Dutch studio Studio Dumbar. The pageant takes over the complete digital display community of Amsterdam Central Station, remodeling public house right into a 24-hour exhibition of cutting-edge movement work from across the globe.
I’ve had the honour of being chosen a number of occasions to showcase my work at DEMO: in 2019 with EYE SEQUENCE; in 2022 with ALIEN TYPE and VERTICAL; and once more in 2025 with ALIEN TRIBE, HELLOCIAOHALLOSALUTHOLA, and FREE JAZZ.
Within the 2025 version, ALIEN TRIBE and HELLOCIAOHALLOSALUTHOLA have been additionally chosen for the Particular Screens program, which prolonged the pageant’s presence past the Netherlands. These works have been exhibited in digital areas throughout cities together with Eindhoven, Rotterdam, Tilburg, Utrecht, Hamburg, and Düsseldorf, reaching a broader worldwide viewers.
MARCO FORMENTINI
My collaboration with Italian footwear designer Marco Formentini, primarily based in Amsterdam, started with the creation of his visible identification and step by step expanded into different areas, together with attire experiments and the design of his private web site.
Every part of the challenge displays his eclectic and process-driven method to design, whereas additionally permitting me to discover type, texture, and narrative by way of completely different media.
Under is a better take a look at the three most important outputs of this collaboration: brand, t-shirt, and web site.
Brand
Designed for Italian footwear designer Marco Formentini, this brand displays his broad, exploratory method to design. Moderately than sticking to a standard monogram, I fused the letters “M” and “F” right into a single, summary form, one thing that feels extra like a logo than a set of initials. The result’s a wild, otherworldly mark that evokes motion, edge, and invention, mirroring Marco’s skill to shift throughout kinds and scales whereas at all times maintaining his personal perspective.
Web site
I conceived Marco Formentini’s web site as a container, a digital portfolio with out a mounted construction. It gathers pictures, sketches, prototypes, and renderings not by way of a linear narrative however by way of a visible move that embraces randomness.
The format is break up into two vertical columns, every stuffed with several types of visible content material. By shifting the cursor left or proper, the columns dynamically resize, permitting the person to shift focus and discover the fabric in an intuitive and fluid manner. This interactive system displays Marco’s eclectic method to footwear design, an area the place experimentation and course of take visible type.
Web site growth by Marco Buccolo.
Test it out: marco-formentini.com
T—Shirt
Shortly after engaged on his private model, I shared with Marco Formentini just a few early graphic proposals for a possible t-shirt design, whereas he occurred to be touring by way of the Philippines along with his buddy Jo.
With out ready for a full launch, he spontaneously had just a few items printed at a neighborhood store he stumbled upon through the journey, mixing one of many designs on the entrance with a unique proposal on the again. An sudden real-world check run for the identification, worn into the streets earlier than even hitting the studio.
Ditroit
This poster was created to have fun the fifteenth anniversary of Ditroit, a movement design and 3D studio primarily based in Milan.
On the heart is an expressive “15” — a tribute to the studio’s founder, a longtime buddy and former graffiti companion. The design reconnects the current with our shared inventive roots and the formative vitality of these early years.
Silver on black: a colour pairing rooted in our early graffiti experiments, reimagined right here to have fun fifteen years of visible exploration.
Tightype
A sequence of typographic animations I created for the launch of Habitas, the typeface designed by Tightype and launched in 2021.
The challenge explores kind in movement, not simply as a car for content material however as a type of visible expression in itself. Shapes bounce, rotate and multiply, revealing the persona of the font by way of rhythm and motion.
Jane Machine
SH→SH→SH→SH is the newest LP from Jane Machine.
The duvet is outlined by the central ingredient of the lips, immediately impressed by the album’s title. The lips not solely mimic the motion of the “sh” sound but additionally evoke the noise of tearing paper. I amplified this impact by way of the inventive course of by first printing {a photograph} of the lips after which tearing it, introducing a tactile high quality that contrasts with and enhances the extra digital aesthetic of the colours and typography.
Background
I’m a inventive director and graphic & movement designer with a robust deal with typography.
My visible journey began across the age of 12, formed by underground tradition: I used to be into graffiti, hip hop, breakdancing, and skateboarding.
As I grew up, I explored different scenes, from punk to tekno, from drum and bass to extra experimental digital music. What at all times drew me in, past the music itself, was the visible world round it: free get together flyers, file sleeves, logos, and kind all over the place.
Between 2004 and 2010, I produced tekno music, an expertise that deeply formed my method to design. That’s the place I first realized about timelines, beats, and rhythm — all parts that as we speak are on the core of how I work with movement.
Artwork has additionally performed a serious position in shaping my visible tradition — from the primitive indicators of hieroglyphs to Cubism, Dadaism, Russian Constructivism, and the expressive depth of Antonio Ligabue.
The aesthetics and perspective of these worlds proceed to affect every thing I do and the way I see issues.
In 2013, I graduated in Graphic Design from IED Milano and began working with numerous companies. In 2014, I moved again to Modica, Sicily, the place I’m nonetheless primarily based as we speak.
A few of my animation work has been featured at DEMO Pageant, the worldwide movement design occasion curated by Studio Dumbar, within the 2019, 2022, and 2025 editions.
In 2022, I used to be printed in Slanted Journal #40 (EXPERIMENTAL TYPE) with TYPEXCEL — Variable font, a challenge developed for a typography workshop geared toward highschool college students, completely constructed inside an Excel spreadsheet.
Since 2020, I’ve been educating Movement Design at Abadir, Academy of Design and Visible Communication in Catania, and in 2025 I began educating Kind in Movement at Bauer in Milan.
In 2021, along with Francesca Giampiccolo, I based GG—OFFICE, a small unbiased visible studio primarily based in Modica, Sicily.
GG—OFFICE is a design house the place branding and movement meet by way of a tailor-made and experimental method. Each challenge grows from dialogue, evolves by way of analysis, and goals to form modern, sincere, and visually ahead identities.
In 2025, Francesca and I gave a chat on the theme of insanity at Desina Pageant in Naples — a wild, enjoyable, and fantastically chaotic expertise.
Design Philosophy
My method to design is rooted in thought — I believe loads — in addition to in analysis, rhythm, and an virtually obsessive manufacturing of drafts.
Each challenge is a singular journey the place type at all times follows which means, and by no means merely does what the consumer says.
This isn’t about being opposite; it’s about bringing depth, intention and a viewpoint to the method.
I channel the uncooked vitality and DIY mindset of the subcultures that formed me early on. I’m referring to these gritty, visible sound-driven scenes that pushed boundaries and blurred the road between picture and sound. I’m not speaking in regards to the music itself, however in regards to the visible tradition that surrounded it. That spirit nonetheless fuels my inventive engine as we speak.
Typography is my playground, not only a visible instrument however a strategy to categorical construction, rhythm and motion.
Generally I push letterforms to their restrict, to the purpose the place they lose readability and turn into pure visible matter.
Whether or not I’m constructing a model identification or animating graphics, I’m at all times exploring new visible languages, narrative rhythms and spatial poetry.
Instruments and Strategies
I work throughout analog and digital instruments, however most of my design and animation takes form in Adobe Illustrator, After Results, InDesign and Photoshop. And typically even Excel 🙂 particularly after I wish to break the principles and rethink typography in unconventional methods.
I’m drawn to processes that enable for exploration and managed chaos. I really like constructing visible methods, breaking them aside and reconstructing them with intention.
Typography, to me, is a dwelling construction, modular, dynamic and infrequently influenced by visible or musical rhythm.
My workflow begins with in-depth analysis and a considerable amount of hand sketching.
I then digitize the fabric, print it, manipulate it manually by chopping, collaging and intervening bodily, then scan it once more and convey it again into the digital house.
This back-and-forth between mediums helps me obtain a fabric high quality and a way of imperfection that pure digital work usually lacks.
Inspiration
Past the underground scenes and artwork actions I discussed earlier, my inspiration comes from every thing round me. I’m a eager observer and deeply analytical. Since I used to be a child, I’ve been fascinated by individuals’s gestures, actions, and delicate expressions.
For instance, after I used to go to events, I might usually stand subsequent to the DJ—not simply to observe their approach, however to check their physique language, actions, and micro-expressions. Even the smallest gesture can spark an concept.
I consider inspiration is all over the place. It’s about being current and coaching your eye to note the main points most individuals overlook.
Future Targets
I don’t have a selected purpose or vacation spot. My most important intention is to maintain doing issues effectively and to by no means lose my curiosity. For me, curiosity is the gasoline that drives creativity and development, so I wish to keep open, hold exploring, and benefit from the course of with out forcing a hard and fast consequence.
Message to Readers
Design just isn’t artwork!
Design is technique, planning, and course of. Nonetheless, that technique can—and typically ought to—be challenged, so long as you stay totally conscious of what you’re doing. It’s important that what you create may be reproduced constantly and, relying on the challenge, works successfully throughout completely different media and codecs. I at all times inform my college students that it’s worthwhile to know the principles earlier than you’ll be able to break them. To do good design, you want a variety of ardour and a variety of persistence.
