→ SUPERNESS deals with research and form / composition within type design, book design and printing techniques. Moving amongst non-circumscribed processes and methodologies, welcoming doubt as constant, building parallelism between art and vernacular vocations. Superness’ main goal is to produce a discourse devoid of any romanticism, clichés or ideologies on design, welcoming mistakes as part of the methodological praxis. Superness is skeptical towards unquestionable scientific-materialist approaches, which are excluding dialectic, diplomatic and contextual components. Believing that the rhetoric around mythologies like originality, problem solving and the designer as arbiter of “good design” to be anachronistic.
Hypotexts, paratexts and thresholds are the fundamental dialectic loopholes according to Superness ideology, allowing research to killing any dogmatic attitudes or ex ante rules.
Superness wants to obtain squares instead of circles around a stone falling in water. To die square, although it was born round. Refusing the *end* of a project, while constantly inspecting information and its endless tangible mediatic instantiations. Aiming to produce a continuous discourse around an increasing observation.
Superness rejects the Gute Form, using rip-off teqniques and plagiarism as working modalities and embraces awkwardness as formal solution. Seeking for atypical and improper uses of tools. If today’s cognitive labour is pushed forward by praising workaholism, on the contrary Superness celebrates laziness, waiting, work-arounds and easy options, thus the production of speculative projects open to misunderstandings, rather than univocal affirmative answers. Superness moves from bias oriented gazes to accept any personal fetish as a research hint, sublimating an anti-academic approach towards an alternative praxis based on local available technologies, thresholds and production constraints. Typography has a pivotal value for Superness, refusing the rigid austerity around its concepts. Typography—from type design to book printing, as well as digital glyphs visualization, is conceived as a system yet a medium that negotiate and offers the parameters within the project development. The form/concept investigation does not aim to create a pyramid scheme of values, but rather to produce a constructive method of inquiry, surfing over precarious and adverse situations.
We work/collaborate with:
Interbrand, Max Mara, Fornasetti, Intesa Sanpaolo, Domus Edizioni, Dinamo Typefaces, Cast Foundry, Triennale Milano, Marsèll, Minimum Fax, Not-Nero Editions, Sinnoss Edizioni, Onomatopee, Centro Pecci Prato, Aksioma Ljubljana, Corraini Edizioni, MAMbo, add Editore, IED Torino, Cfp Bauer Milano, Iuav Venezia, Washington University in St. Louis, Accademia delle Belle Arti di Urbino
• TDC, Certificate of Typographic Excellence, New York, 2017
• EDA European Design Award, Bronze Prize, Porto 2017
↑*Portfolio on request*
ASK! ASK! ASK!
↑ If you want to spend few months working with us, send us your portfolio and CV.