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a century. Not surprisingly, typography often dominates the design of posters.

Perhaps it is the opportunity to use large scale type, or to combine it with images

in such a direct, visceral presentation that draws designers to the medium over

and over again. In addition to the top-level impact a poster requires to be effective

at a distance, it offers the potential for nuance with secondary-level text setting,

allowing the designer to involve the viewer on a more personal level once captured

by its dynamic first statement.

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Job no:80872 Title : RP-Typography Workbook Client : Pro-Vision Scn : #_{175 Size : 228.6(w)228.6(h)mm Co : M15 C0 O/P: CTP} Dept : DTP D/O : 08.04.04(Job no:000000 D/O : 00.00.01 Co: CM0)

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What characterizes your typographic sensibility from that of other designers? From a stylistic viewpoint, my

approach is influenced by twentieth-century European avant-garde art, concrete poetry, futurism, conceptual art. My work shows a certain consistency in color (black, white, red, orange, silver) in the use of existing typefaces (modern sans serifs like Franklin Gothic, Akzidenz Grotesk, Trade Gothic) and in designing my own lettering with very geometric, linear structure—a kind of reference to de Stijl [the Dutch design movement of the 1900s that included practitioners such as Theo van Doesburg and Piet Mondrian].

What kinds of typographic considerations are important to you when you are designing a poster? A poster

has two reading levels. The first level intrigues the viewer, fascinates them; it’s the level where the typography is the core of the visual communication—especially if the primary element is a single letter.The second level is infor- mational and supports the first level with explanatory text.

Compare the typography in two of your posters from a conceptual, as well as visual, perspective. The two

posters are very different conceptually. The Italian word for poster is manifesto: the Palindrome poster is both a poster and literally a manifesto. I present a palindrome alphabet (where each letter may be read in two directions) that I designed as an investigation into the connection between typography and rhetorical form of language. The IUAV poster announces the opening ceremony of the academic year at the University of Architecture in Venice. The two As stand for Anno Accademico (academic year). The structure of the two posters is similar: a big letter is the main focus, and the information is presented system- atically below. The Palindrome poster plays with the spatial relationship of the photography and type to create an ambiguous space. In the IUAV poster, a similar spatial disconnect is achieved with geometric and plain surfaces. The typeface for the text in the Palindrome poster is Akzidenz Grotesk (to contrast the stylized headline type, I needed a neutral typeface without distinct qualities). In the IUAV poster, I used a very architectonic typeface: DIN Mittelschrift.

What are your favorite typefaces and why? I have

three favorites. First, I like Fuller Benton’s Franklin Gothic, because to me it perfectly embodies [Modernist architect] Mies van der Rohe’s motto “Less is more.” Second on my list is Matthew Carter’s typeface Walker, because it was one of the first well-drawn digital typefaces. And third, I like Letterror’s typeface Beowolf. I’ve never used it, but it’s an interesting exploration into the relationship between bits and type—the computer redraws the out- lines of each letter every time it is set.

Whose typographic design has influenced you most?

I’m continuously influenced by contemporary designers. But I love history. I’m partial to the designer Dudovich, who was born in my hometown,Trieste, and others from elsewhere in Italy (like Grignani and Fronzoni). Culturally, I feel European, so I feel a connection to designers like Piet Zwart [Dutch designer, active in the early twentieth century]. And finally, I have to mention my friend Wolfgang Weingart [Swiss, b. 1941]. For me, he is the greatest example of someone devoted to discovering the hidden essence of typography.

Leonardo Sonnoli is an Italian graphic designer known for his stunning poster work, which forms the majority of his portfolio. As principal of CODEsign in Rimini, Italy, whose clients include an international range of cultural, educational, and corporate organiza- tions, he has created an impressive body of poster-based communications. Sonnoli is a member of AGI (Alliance Graphique Internationale).

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The type in the third poster (right) slides within the format, as though inked and dragged across the page. The distribution of dark typographic matter is decisively composed, and the negative space that interacts with it from the top and outer edges is carefully considered. The form repetition that results from the stamping effect creates movement and depth. In the first poster (left), the

designer explores the relation- ship between system and improvisation. Splotches of what appears to be yellow and green paint are spattered evenly across the format, partially obscuring the type, which is set flush left, with even interline spacing and one size in a very restrained way off the left edge of the format. Closer inspection reveals that all the elements, including the paint splotches, are digitally drawn

bitmaps. The pixel jaggies asso- ciated with low-resolution type- setting and images play an interesting game with the assumed intuitive quality of the splotches. The splotches are carefully placed to maintain the legibility of the forms, keeping critical strokes uncovered so they are easily recognized.