My title is Enrico Gisana, and I’m a artistic director, graphic and movement designer.
I’m the co-founder of GG—OFFICE, a small unbiased visible arts studio based mostly 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, typically mixing these components by experimental approaches. My design strategy goals to push the boundaries of conventional graphic conventions, continuously questioning established norms to discover new visible potentialities.
My work primarily focuses on branding, typography, and movement design, with a selected emphasis on kinetic typography.
Between 2017 and 2025, I led quite a few graphic and movement design workshops at varied 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 instructing 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 objective 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 information.
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 undertaking was revealed in Slanted Journal N°40 “Experimental Sort”.
DEMO Competition
DEMO Competition (Design in Movement Competition) is without doubt one of 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, reworking public house right into a 24-hour exhibition of cutting-edge movement work from across the globe.
I’ve had the distinction 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 had been additionally chosen for the Particular Screens program, which prolonged the pageant’s presence past the Netherlands. These works had 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, based mostly in Amsterdam, started with the creation of his visible identification and steadily expanded into different areas, together with attire experiments and the design of his private web site.
Every section of the undertaking displays his eclectic and process-driven strategy to design, whereas additionally permitting me to discover kind, texture, and narrative by completely different media.
Under is a better take a look at the three important outputs of this collaboration: emblem, t-shirt, and web site.
Emblem
Designed for Italian footwear designer Marco Formentini, this emblem displays his broad, exploratory strategy to design. Relatively 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 an emblem than a set of initials. The result’s a wild, otherworldly mark that evokes motion, edge, and invention, mirroring Marco’s means 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 no mounted construction. It gathers photographs, sketches, prototypes, and renderings not by a linear narrative however by a visible stream that embraces randomness.
The structure is break up into two vertical columns, every stuffed with various kinds of visible content material. By transferring the cursor left or proper, the columns dynamically resize, permitting the person to shift focus and discover the fabric in an intuitive and fluid approach. This interactive system displays Marco’s eclectic strategy to footwear design, an area the place experimentation and course of take visible kind.
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 a couple of early graphic proposals for a possible t-shirt design, whereas he occurred to be touring by the Philippines together with his pal Jo.
With out ready for a full launch, he spontaneously had a couple of items printed at an area store he stumbled upon in the course of the journey, mixing one of many designs on the entrance with a distinct proposal on the again. An surprising real-world take a look at run for the identification, worn into the streets earlier than even hitting the studio.
Ditroit
This poster was created to rejoice the fifteenth anniversary of Ditroit, a movement design and 3D studio based mostly in Milan.
On the middle is an expressive “15” — a tribute to the studio’s founder, a longtime pal and former graffiti companion. The design reconnects the current with our shared artistic roots and the formative power of these early years.
Silver on black: a shade pairing rooted in our early graffiti experiments, reimagined right here to rejoice 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 undertaking explores kind in movement, not simply as a automobile for content material however as a type of visible expression in itself. Shapes bounce, rotate and multiply, revealing the character of the font by rhythm and motion.
Jane Machine
SH→SH→SH→SH is the newest LP from Jane Machine.
The duvet is outlined by the central component of the lips, immediately impressed by the album’s title. The lips not solely mimic the motion of the “sh” sound but in addition evoke the noise of tearing paper. I amplified this impact by the artistic 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 artistic 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, document sleeves, logos, and kind in all places.
Between 2004 and 2010, I produced tekno music, an expertise that deeply formed my strategy to design. That’s the place I first discovered about timelines, beats, and rhythm — all components that right this moment are on the core of how I work with movement.
Artwork has additionally performed a significant 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 angle of these worlds proceed to affect the whole lot I do and the way I see issues.
In 2013, I graduated in Graphic Design from IED Milano and began working with varied businesses. In 2014, I moved again to Modica, Sicily, the place I’m nonetheless based mostly right this moment.
A few of my animation work has been featured at DEMO Competition, the worldwide movement design occasion curated by Studio Dumbar, within the 2019, 2022, and 2025 editions.
In 2022, I used to be revealed in Slanted Journal #40 (EXPERIMENTAL TYPE) with TYPEXCEL — Variable font, a undertaking developed for a typography workshop aimed toward highschool college students, fully constructed inside an Excel spreadsheet.
Since 2020, I’ve been instructing Movement Design at Abadir, Academy of Design and Visible Communication in Catania, and in 2025 I began instructing Sort in Movement at Bauer in Milan.
In 2021, along with Francesca Giampiccolo, I based GG—OFFICE, a small unbiased visible studio based mostly in Modica, Sicily.
GG—OFFICE is a design house the place branding and movement meet by a tailor-made and experimental strategy. Each undertaking grows from dialogue, evolves by analysis, and goals to form modern, trustworthy, and visually ahead identities.
In 2025, Francesca and I gave a chat on the theme of insanity at Desina Competition in Naples — a wild, enjoyable, and superbly chaotic expertise.
Design Philosophy
My strategy to design is rooted in thought — I feel rather a lot — in addition to in analysis, rhythm, and an virtually obsessive manufacturing of drafts.
Each undertaking is a novel journey the place kind 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 power 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 artistic engine right this moment.
Typography is my playground, not only a visible software however a strategy to specific construction, rhythm and motion.
Typically 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 Methods
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 need to break the foundations and rethink typography in unconventional methods.
I’m drawn to processes that permit for exploration and managed chaos. I like constructing visible methods, breaking them aside and reconstructing them with intention.
Typography, to me, is a dwelling construction, modular, dynamic and sometimes 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 reducing, 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 typically lacks.
Inspiration
Past the underground scenes and artwork actions I discussed earlier, my inspiration comes from the whole lot round me. I’m a eager observer and deeply analytical. Since I used to be a child, I’ve been fascinated by folks’s gestures, actions, and delicate expressions.
For instance, after I used to go to events, I’d typically stand subsequent to the DJ—not simply to observe their approach, however to review their physique language, actions, and micro-expressions. Even the smallest gesture can spark an thought.
I imagine inspiration is in all places. It’s about being current and coaching your eye to note the small print most individuals overlook.
Future Objectives
I don’t have a selected objective or vacation spot. My important purpose is to maintain doing issues properly and to by no means lose my curiosity. For me, curiosity is the gas that drives creativity and progress, so I need to keep open, hold exploring, and benefit from the course of with out forcing a set consequence.
Message to Readers
Design isn’t artwork!
Design is methodology, planning, and course of. Nonetheless, that methodology can—and typically ought to—be challenged, so long as you stay absolutely conscious of what you’re doing. It’s important that what you create will be reproduced constantly and, relying on the undertaking, works successfully throughout completely different media and codecs. I at all times inform my college students that you must know the foundations earlier than you’ll be able to break them. To do good design, you want a variety of ardour and a variety of persistence.
