The book brings together the best annual projects of the Academy. Printed in six-colour offset with the addition of a metallic Pantone, and partially in Risograph (internal insert), it employs hand-crafted movable type for the titles, with manual typesetting combined with black-and-white photography, as well as artist illustrations produced through intaglio and engraving, printed in two colours.

The layout is conceived as a fluid composition: a hybrid system of techniques and visual overlays that positions the book somewhere between graphic design and the artist’s book. While flipping through the pages, readers can access additional audio content related to the various activities.

Some of the typefaces used belong to the Academy’s collection of movable type. This includes a version of Inserat-Grotesk – possibly Fondografica’s Piacenza – and Motor. The names and origins of others are uncertain or undocumented.

The E and P are from an Art Deco typeface that’s similar to Triennale.

The 2023–24 edition of the RUFA Annual Report, conceived as a collective performance, goes beyond documenting the year’s activities to become a shared design act focused on intention, process, and collaboration.

Inspired by Vilém Flusser’s idea that “everything depends on intention (design)”, the report was created through a 48-hour creative marathon involving 50 selected students alongside designers, visual artists, photographers, copywriters, and faculty members. Working together in an open laboratory, the teams produced content, images, data, and narratives that shaped the final publication.

The volume unfolds through ten keywords defining the Academy’s identity, a photographic selection of undergraduate and postgraduate theses, and an overview of the year’s activities, including events, workshops, talks, and international projects. Data Humanism–inspired infographics, based on interviews and questionnaires with students and faculty, complete the narrative.

A die-cut dust jacket revealing the names of the participants and a concluding photographic report underscore the collective nature of the project. The annual report thus stands as both a document and a method, reflecting the Academy’s growth through shared experience, research, and collaboration.

Four-colour printing plus white and fluorescent yellow Pantone on Favini paper.
Typographic composition in Milligram by Zetafonts.

Design by Guido Lombardo, Davide Luccini and Francesco Paolo Incantalupo at Intorno Design, with illustrations by Francesco Fidani. For a full list of credits, see the RUFA website.

The Annual Report 2022 for the Rome University of Fine Arts (RUFA) was designed by Intorno Design (Guido Lombardo, Francesco Paolo Incantalupo, Davide Luccini).

The volume, which contains the narrative and cataloging of the best projects and activities carried out in 2022 at the Rome University of Fine Arts, is presented as a black-edged painted block decorated on the cover with silver signs and symbols taken from details of the inner pages (images, typefaces, pictorial lines of the illustrations and data visualizations).

The content is told from an analytical perspective where photography, illustration, and typography become tools of investigation rather than narrative, of exploration rather than discovery. The layout and typesetting, characterized by the choice of a single typeface, Tipiblu's Sempione Grotesk for CAST, take their inspiration from the graphic layout of medical x-rays. The photographic project presents some of the daily protagonists of the classes and internal offices in a taxonomic way by the use of synecdoche. The 4-color illustrations and monochrome infographics alternate between the storytelling of qualitative data according to a human-centered approach and the rational visualization of quantitative data. The alternation of different media of representation, stabilized by a selective choice of colors and typographic elements, encourages a slow and thoughtful reading of the complexity of contemporaneity, within the academic and artistic context.

The new visual identity of ISIA Roma Design – Italy's first public university institute of design – opens up a new point of view, merging the institute’s history and values with modern communication needs and combining the institutional side with an experimental vision.

The identity, designed by Intorno Design (Guido Lombardo, Tommaso Salvatori, Antonello Lipori, Giampiero Donno), uses Ministry by Rian Hughes as their brand typeface.

From square to circle, from circle to sphere. We move on to a new evolutionary stage, which evokes the dimension of globality, complexity and perfection, but also internationality, variety of viewpoints, form as volume, design as process and ability to see beyond, and experiments with new forms, visual languages, interactions with a systemic, technological and meta-design approach.

In the ISIA identity, colour is also dynamic and can fade into any other tone of the colour circle when it is desired to highlight and give character to an important activity or event.

Since 2019, the ISIA identity project won: Honorable mention at Creative Communication Award 2019, Premio Eccellenze del design nel Lazio 2019, 1st prize CSS Design Awards 2019, Special Mention German Design Award 2020, Gold in Print/Collateral Material IDA Design Award 2020.

The semi-rigid cover made with cobalt-blue paper is immediately linked to external digital contents through QR codes that become silk-screen printed graphic patterns.

In 2016, the first RUFA Annual Report (covering the year 2015) was designed by Intorno Design (Guido Lombardo, Tommaso Salvatori, Linda Marchetti, Diletta Damiano, Roberta De Cristofaro).

It combines a technological aspect with the manual one of the Academy. A complex work reflecting the skills and dedication of the people designing and carrying out the project. All the professionals at the Academy were involved in selecting the paper and in the layout and contents of the report.

Inside it contains the key highlights, figures and numbers, and a selection of the best projects, a review of the major events and partnerships and, last but not least, the list of the protagonists of the year. In a hundred pages, thanks to a careful composition of images, content and choice of colours, all of the dynamism and creativity of the Academy is expressed.

The design uses LL Akkurat and LL Akkurat Mono from Lineto and Butler, released in 2015 by Fabian De Smet.

A special insert was dedicated to the 2015 RUFA Contest, which was the main event held during the year. We decided to present this as a separate feature, with a different format and type of paper, on a black background and with desaturated images.

The RUFA Annual Report 2016 was designed by Intorno Design (Guido Lombardo, Tommaso Salvatori, Giampiero Donno, Roberta De Cristofaro, Matteo Sampaolo). The report collects the best of the academy’s dense annual educational and creative production.

Inside, the use of an expressive typography, photography combined with artwork in magenta thread, a free layout and visible binding aim to evoke the multidisciplinary characteristic of the school, made up of art and design contaminations and stratifications.

The design makes early use of Jim Ford’s Posterama (Monotype, 2016), mainly in the 2001 style, combined with Eric Olson’s Klavika (Process).

The poster shows the various actions that have been implemented, while the blank offset cover features a letter written by the lecturer to a future student.

The insert of 16 pages of different formats, printed in two colors, features one of the main events of the past year: RUFA contest.

“Extra” and “Diary” are set in Posterama 1913, with stacked glyphs.

The product is printed in six colors with the use of neon Pantones 802 and 806.

The sixth RUFA annual report, designed by Intorno Design (Guido Lombardo, Roberta De Cristofaro, Fabrizio Crollari), presents the two-year period 2020–2021 as a single temporal unit, the time of COVID-19, the narrative of a year made up of 24 months and 320 pages, the most voluminous academic report to date. The graphic, photographic, and illustrative choices respond to the horror vacui generated by the pandemic and recall the artifices, physical or digital filters, that society has chosen to adopt as tools to stem the contagion. The variety and saturation of the chromatic tones serve as a sort of artistic compensation: having lost the warmth (human, relational, vital), we return it and compensate it in the form of color.

The choice of GT Maru by Grilli Type, which incorporates many emoji within the stylistic set, the type composition and layout refer directly to the modes and practices of digital devices, to which we have been and still are overexposed every day.

The photographic project on the first pages presents portraits of people with leading roles within the Academy who interact symbolically and playfully with a physical Plexigas filter often used in academic premises.

The illustration project introducing each course of study, on the other hand, pays tribute to the great international personalities who passed away over these two years, leaving a great legacy through their work to the students and creatives of today.

The photo project presenting the RUFA staff also evokes attitudes and moments of life that we all experienced during the pandemic period, ironically mocking the collaboration of the academic team.

The white envelope, precious and still to be written, contains two volumes full of content.

The annual report 2019 for the Rome University of Fine Arts (RUFA) was designed by Intorno Design (Guido Lombardo, Roberta De Cristofaro, Tommaso Salvatori). This edition is dedicated to the memory of the first twenty years that have passed since the foundation stone was laid to build the creative melting pot that today is the Academy. The intent is to celebrate the continuous renewal of the original impulse, narrating the main projects and events of the past year.

The design uses several members of the Sang Bleu series by Swiss Typefaces, namely Empire, Sunrise, and Kingdom. The typography brings elegance and delicacy to a design with an almost nostalgic appearance.

In 2020, this edition of RUFA Annual Report won a Silver Award at the European Design Awards.

The first volume, in pocket format, includes in a single collective voice twenty testimonies of some of the protagonists of the years from 1998 to 2018.

The second is developed horizontally and evokes the old family albums, both in format and in visual content. The photographs also refer to the traditional albums through the shots of the “professional families RUFA”, from the schools of the different departments to the staff of the Academy.

The central insert is dedicated to the RUFA Contest and is printed in monochrome on Favini Crush Kiwi recycled paper.

The book is printed in five colors (CMYK plus Pantone silver) and uses six types of paper. The use of typography and the layout of the book is a mixture of elegance and experimentation. Taking risks to generate innovation is one of the characteristics of the Academy. The same can be said of the annual report.

The annual report 2019 for the Rome University of Fine Arts (RUFA) was designed by Intorno Design (Guido Lombardo, Roberta De Cristofaro, Tommaso Salvatori) as a “journey among real projects, metareal landscapes, poetic thoughts between past and future, on the edge of the possible”. The hardcover book comes in a white offset striped paper slipcase, and is printed in five spot colors on ecological FAVINI papers, sourced from wool and cotton processing waste.

The design uses TWK Lausanne (by Nizar Kazan) throughout, changing styles, colours, weights and alignments from time to time.

Meridians and parallels of the pages indicate its structure and define its navigation.

The columns of Italian and English texts are always facing each other, dialoguing with each other.

The insert, printed in one color on sky-colored paper, collects the story of the 2019 RUFA Contest.

Throughout the publication, full-page calligraphy rewrites some poetic verses. Blue, with its powerful symbolic meaning, is the dominant color.