Finemateria is a Milan-based design studio founded in 2020 by Gianluca Sigismondi and Stefano Bassan.

The Finemateria logotype features a custom version of Superness Modulo, a design that comes from a group of well known Milanese graphic designers. Modulo is a digital version of Nebiolo’s unreleased attempt to create a radical modular design based on mathematical ratio. It features almost no contrast overall and has a solid appearance that create a sense of established firm, static, neutral and solid.

Modulo is the core typefamily. All weights are used if needed, but the bold cut is the default voice of the identity. Overall the spacing is crafted to giving extra space between each glyphs and enhancing a unique – both strong yet relaxed – flavor.

The identity application is plain and self-aware, conceived as a flexible framework capable of show carefully crafted and well-defined projects, each distinct in character. The visual approach is paired with dusty, low-saturation tones, allowing the materic quality of the printed matter to emerge, so as to highlight the attention that Finemateria dedicates to materials, enhanced through a precise and thoughtful photographic perspective.

Tenderly is an ongoing archive of drawings by Giovanni Spera. The book was typeset in Superness Modulo for both titling and interiors and Risograph printed by Atelier Tatanka in two colors (red and black) with a silkscreen-printed cover.

“Tenderly is a personal mirror of the present, conceived as a continuous struggle between good and evil”

Searching for balance, the subjects of the illustrations are marked by constant shifts: opposites that at times find themselves collapsing into one another and, at others, drift apart almost definitively, becoming part of a broader framework. This persistent tension, shaped by a sense of indeterminacy, allows comforting and reassuring images to coexist with figures of violence and fear, offering a vision of reality that is transitory and fragile.

The perfect-bound publication has 
178 pages measuring 14,5×20,5 cm
, in 100 copies. It was printed in Italy and published by Tatanka Edizioni.

Breaking Cinema. Experimental Film 2010–2023 is a monograph of Cauleen Smith written by Romi Crawford. Superness Modulo is used in several styles. From publisher Mousse Publishing:

Operating in multiple materials and arenas, interdisciplinary artist Cauleen Smith (b. 1967) roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism, moving images, and science fiction, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. The book Breaking Cinema. Experimental Film 2010–2023, adds to the growing scholarship on Cauleen Smith’s work, as art historian Romi Crawford elucidates a critical phase of the artist’s career and how Smith recasts film history in the context of the artistic and cultural ferment of Chicago’s South Side.

The softcover has 
96 pages measuring 16.5×10.5 cm
 and was printed in Italy. ISBN 978-88-6749-637-2

“On the Uses of Absence” is the title of Soapbox, issue 6.0:

Can we speak of a turn to absence? Across the contemporary academic conjuncture, theory is reapproaching the absent in its varying figurative and fleshly forms – revalorising the presence of absence as a critical matter. Whether in queer theory, trans studies, Black studies, Eastern European studies, or literary studies, enduring scholarly investments in re-presenting and re-presencing the absented body have become supplemented by an affirmative interest in staying with absence as such. This scholarship locates absence at the heart of myriad resistances against exploitation, appropriation, undoing, and normativity. For its seventh issue, Soapbox: Journal for Cultural Analysis has invited scholars and artists alike to submit work on the uses of absence in and outside of theory today. As an object of study, a critical figure, and rhetorical tool, absence is given a shape, meaning, form; it is put in writing, where it has a function, a flavour, and a politics. Absence, in other words, fails every time to be purely nothing. How, then, to think the contradiction and the provocation of a contemporary aesthetics of absence?

The graphic design was made by Alice Machado and Paolo Barbieri. They used Adriane Text by Marconi Lima, Harber by Benoît Bodhuin and Superness Modulo – a digitization by Alessio D’Ellena and Alberto Malossi of Nebiolo’s Modulo.