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Giulia Zanzarella

@giuliazanzarella

4.3K
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1610
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ex @ecal_type_design
typefaces/books/printed ephemera
torino [IT]
giuliazanzarella[at]gmail.com
⚙️🔡 --ˋˏ✄┈┈┈┈┈┈
@julieznz
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Crafting by-plastic [@marco.ciacci, 2025] is a research book and paper exploring pre-plastic material traditions, narrated through the hole of a shirt button. “During the winter of 2024, I undertook extensive research into materials and production techniques, with a particular focus on pre-plastic traditions in the search for more sustainable alternatives. [...] To explore this theme, I chose an apparently simple object: the shirt button, which has undergone numerous material transformations over time” The result is a paper that examines an alternative vision of bioplastics and their current state of the art within the field of design. In a world where plastic has become synonymous with waste and pollution, this research investigates the often-overlooked history of organic plastics and analyses contemporary examples. The study introduces a new term: byplastics, plastics derived from the by-products of other production activities. This research was Supervised by @anniina.koivu @brynjarsigurdarson and @paula_muehlena ; and led of the development of ACE, a diploma project of @marco.ciacci at @ecal_ch The scrapbook and paper can be read at @ecal_library The book design is curated by @giuliazanzarella Typeface: Rungli by @kplehmann A special thanks to Elio and Serena from @fratellibonfantibottoni Giuseppe Curto, and @stefano_curto Stefania and Dr. Davide Orsi @mazzucchelli1849 @ludovico_orombelli @gaiadupont @aartvanbezooijen @studiothomasvailly and @thenewmaterialist And to everyone who shared their knowledge, time, and support :)
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NUSCA Festival – Visual Identity, created for the independent publishing and film festival held in Venice, develops a flexible graphic system that reflects the festival's collaborative and experimental nature. Design Monica Müller @monicamueller.ch Typeface Resona Giulia Zanzarella @giuliazanzarella Client NUSCA Festival @nuscafestival Year 2026
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HIERARCHY OF GENRES by Alessandro Calabrese April 2026 21 × 29,7 cm 64 Pages printed on Single Coated paper Softcover Staples Binding – Designed by Tommaso Tanini Typeface by Giulia Zanzarella Text by Milovan Farronato and Chiara Spagnol Hierarchy of Genres originates from a mistake: printing on the wrong side of glossy photographic paper. Unable to penetrate the surface, the ink remains suspended in an unstable state; before it changes, coagulates, or disappears, the print is photographed again. What first appeared as an accident gradually became a method, allowing Calabrese to explore the threshold between photography and painting, figuration and abstraction, control and loss of control. The project takes as its point of departure the six traditional categories of pictorial genres — History Painting, Portrait Painting, Genre Painting, Landscape and Cityscape Painting, Animal Painting, and Still Life — a hierarchy central to Western painting until the advent of photography. Returning to this pre-photographic system through photographic means, Calabrese creates a conceptual correspondence with the formal process of the work itself: photography approaches painting, while a technical error turns the photographic surface into matter. For each category, he draws on a different source: material related to the events of September 11, 2001; selfies of friends and colleagues exchanged in private chats; screenshots of embraces from films and television series; early landscapes shot on film at the beginning of his career; genetically flawed animals from natural history museum archives; and flowers photographed during and after the pandemic. The book presents a series of specimens for each genre, alongside a number of abstract works generated by the overlap of sheets, whose still-wet surfaces leave traces on the untouched, correct side of the paper. It also includes a text written jointly by Milovan Farronato and Chiara Spagnol on the occasion of Calabrese’s solo exhibition at Viasaterna at the end of 2024. Official Launch at @fotografia_europea
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Buongiorno! On our last day, we present @giuliazanzarella s typeface Cornell 🖤 donate to seawatch and get it today!
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We present to you the five typefaces of this round, plus all the info on how we operate. Please take a look at our updated license description! See you at @desinafestival 🧡 we collect for @seawatchcrew 🖤
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Type Bulletin 9 is out now 💜 Featuring 18 new typefaces and excerpts from 12 master theses, translated into 16 languages across 9 scripts, reflecting the various backgrounds of the students at @ecal_type_design Designed by @antoine.pasi and @rebekkahausmann Supported by @mcnonpareille Printed at ECAL by Benjamin Plantier Includes typeface AC Modern Gothic, diploma project by @malte_bentzen Photography by @marvmerkel Available now at @ecal_shop Including works by @lynnbirrer @v.ratchanon_ @jonathan.bruun @mayra_mariya @rebekkahausmann @xleetype @jami_mich @luxpio @chansperle @stephanie.wilson__ @yennok @giuliazanzarella @yannick.work @marie__________s @jahnkoutrios @ruslannabasov
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🌼 Behind the scenes of ACE, aka a semester of life in Lausanne I had to do it again. Thanks to all the friends who accompanied and helped me throughout this journey! 🫶🏻 Luckily, we are not an island. ACE hearing aids [2025], by @marco.ciacci is a master diploma project in product design at @ecal_ch @ecal_design , developed under the supervision of @erwanbouroullec, @camillebien, and @maxwell_ashford #ECAL #productdesign celluloseacetate hearingdesign designuniversity
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Minut, diploma project by @giuliazanzarella How long does a Minut last? Time is standardized, but its experience follows no rules, being mathematically equal for all, but felt differently by each. Minut explores this gap: a play on words between “minute” and “unit,” it is a type family built around four styles defined by width constraints—72 units (proportional), 9, 3, and 1 (monospace). Each style reflects a degree of mechanization, inspired by unit systems used in proportional spacing typewriters. Celebrating the beauty of constraint, the characters of Minut find their own rhythm, generating textures with subtle variations. Rather than being interpolated, each style of Minut is drawn individually, prioritizing the overall texture of each font—going against the limitless flexibility of digital design. thanks to @marco.ciacci for designing the furniture, @daniel___mrtnz for videos and photoshoot, @lorenzo.musac for the animations Project mentored by @alice_savoie and @julia_born More projects under the link in bio🔦
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☟ 2⤳ brossura fresata 3⤳ rilegatura a punto singer con filo bianco 4⤳ rilegatura svizzera con cucitura a filo refe grigio + punto metallico 5⤳ rilegatura con cucitura a filo refe rosso, autocopertinato + sovraccoperta 6⤳ rilegatura con fastener 7⤳ rilegatura con cucitura a filo refe rosso, autocopertinato 8⤳ brossura con bandelle con cucitura a filo refe bianco carta⤳ @fedrigoni.paper + @paperandpeople
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Vi aspettiamo il 12 marzo per il secondo appuntamento legato alla mostra “ECAL A Typographic Atlas”, una tavola rotonda che mette in dialogo due collettivi torinesi, @archiviotipografico e @illetterista per interrogarsi su cosa significhi fare progettazione tipografica oggi a Torino. Un confronto sul mestiere del type designer: percorsi diversi, esperienze tra territorio e contesti internazionali, relazioni costruite nel tempo con l’obiettivo di raccogliere saperi e restituirli alla città. Al centro della conversazione l’artigianalità, intesa non in senso nostalgico ma come strumento contemporaneo capace di tenere insieme tecnica, cultura e progetto. A seguire, la proiezione di “My Pillowbook”, performance di @caterinasantullo, type designer attivə tra Torino e L’Aia. Intervengono: ● Davide Tomatis, docente, graphic e type designer @archiviotipografico ● Joe Miceli, pittore di insegne e type designer @illetterista ● Gabriele Fumero, docente, graphic e type designer @archiviotipografico ● Rocco Barbaro, pittore di insegne e type designer @illetterista ● Giulia Zanzarella, graphic e type designer @archiviotipografico ● Caterina Santullo, type designer e scrittricə 🔗 Ingresso libero, prenotazioni sul nostro sito o al link in bio! 🌐 Evento parte del programma di mostra curata da @ecal_ch
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Grazie alle tante persone che ieri hanno partecipato all’opening della mostra che racconta dieci anni di ricerca tipografica degli studenti e studentesse di @ecal_ch, attraverso una raccolta di oltre 300 caratteri. Un ringraziamento speciale ai rappresentanti di @ecal_ch e @archiviotipografico, e agli studenti e alle studentesse di @ecal_type_design e @ecal_graphic_design che, durante il talk inaugurale, ci hanno accompagnato dentro i loro processi e metodi, restituendo il lavoro di ricerca e sperimentazione. 🌐 La mostra “ECAL A Typographic Atlas” è visitabile fino al 14 marzo, dal lunedì al sabato dalle 14 alle 19, Ingresso libero. Foto di @vittorioiandolino_photo
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Il 12 febbraio alle 18:30 inauguriamo la mostra “ECAL A Typographic Atlas” con un talk introduttivo insieme a studenti e studentesse di @ecal_type_design e designer. L’incontro presenta il lavoro svolto all’interno del Master in Type Design e del Bachelor in Graphic Design di @ecal_ch, da cui nasce la mostra. Attraverso interventi di type designer, il talk racconta processi, metodi e approcci alla pratica tipografica contemporanea: dai workshop intensivi ai progetti semestrali e di diploma. Intervengono: ● Saliù Baldé, Claudio Bolzonello, Orlando Brunner, Elena Calò, studenti ECAL Master Type Design ● Giulia Zanzarella, type & graphic designer, alumna ECAL Introducono: ● Matthieu Cortat Roller, Head of ECAL Master Type Design ● Davide Tomatis, printer & type designer, @archiviotipografico 📎 Ingresso libero Foto cover @marvmerkel
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