PORTFOLIO

[The Brief]

ho. Mobile wanted to create a digital face for the brand: a virtual ambassador able to appear across social content, videos, live activations and on-stage moments.

The challenge was not only to design a CGI character, but to build a believable real-time performer. ho.lly had to feel expressive, responsive and alive, with enough personality to represent the brand in both pre-produced content and live interactive experiences.

[The Strategy]

We developed ho.lly as a high-end CGI brand avatar, combining character design, Unreal Engine, real-time rendering and motion capture.

The production required a complex technical pipeline. The character was animated using a Xsens motion capture suit, allowing real human performance to drive ho.lly’s body movement with natural timing and gesture. Unreal Engine was used to manage the real-time environment, rendering and live performance workflow, making the avatar responsive and production-ready for different formats.

The effort level was extremely high: every part of the pipeline had to work together — character setup, motion capture, retargeting, real-time animation, look development, rendering, performance direction and final visual output. The goal was to make ho.lly feel more like a live digital presence than a standard animated mascot.

[The Outcome]

ho.lly became a full CGI virtual ambassador for ho. Mobile, designed to live across social content, branded videos, real-time interaction and live events.

The project demonstrated a high-level integration of CGI, Unreal Engine and Xsens motion capture, pushing the avatar beyond traditional brand animation. The result was a technically advanced digital character capable of performing in real time and representing the brand with a distinctive, contemporary and interactive identity.

For the LoveMi activation, ho.lly appeared as a live digital presence in front of a large audience, turning the project into a strong example of real-time brand avatar production and advanced VFX art direction.

[The Brief]

Framer needed a short motion graphic piece able to communicate a concept in a clear, modern and visually engaging way.

The challenge was to create an animation that felt clean, digital and design-oriented, while keeping the message simple and immediate.

[The Strategy]

I worked on the motion graphic design, focusing on rhythm, transitions, visual hierarchy and animated graphic elements.

The visual approach was based on a clean 2D motion language: simple shapes, controlled movement, readable typography and smooth transitions. The goal was to create a polished animation that could support the brand message without overcomplicating the visual system.

[The Outcome]

The final result was a concise motion graphic asset with a clean, contemporary and functional visual style.

For the portfolio, this project shows my ability to create short-form motion content with strong design control, balancing clarity, timing and visual consistency.

[The Brief]

The project required a visual language able to communicate the message in a clear, engaging and highly recognizable way, using illustration as the main stylistic foundation.

The challenge was to create a piece that felt crafted and visually distinctive, avoiding a generic motion graphic look. The illustrations had to carry the identity of the project, while animation had to bring rhythm, storytelling and clarity to the final video.

[The Strategy]

I worked across both illustration and motion graphics, developing a visual system where static illustrated elements could become dynamic animated scenes.

The process combined character or object illustration, graphic composition, visual hierarchy, timing, transitions and 2D animation. The illustrated assets were designed to work not only as individual visuals, but as animation-ready elements: clean shapes, readable silhouettes, modular layers and movements that could support the narrative.

Motion was used to give life to the illustrations, guide the viewer’s attention and create a more fluid storytelling experience. The animation style focused on clarity, rhythm and visual coherence, keeping the illustrated identity consistent throughout the video.

[The Outcome]

The final result was an illustrated motion graphic piece with a strong handmade and graphic identity.

The project shows my ability to combine visual design, illustration and 2D animation, turning static drawings into a dynamic communication tool. For the portfolio, it highlights a different side of my motion work: less focused on UI or product explanation, and more connected to visual storytelling, crafted graphic language and illustrated animation.

[The Brief]

Titanus Museum was a large-scale multimedia museum experience created for a historical museum in San Marino. The project required a sequence of immersive rooms capable of narrating the history of Mount Titano and the Republic of San Marino through projection, animation, CGI and historical storytelling.

The challenge was enormous: this was not a single video, but a full museum experience built across multiple rooms, projection surfaces and narrative moments. The content had to be spectacular enough for an immersive installation, but also historically credible, because the story was connected to real places, real figures and the cultural identity of San Marino.

[The Strategy]

We approached the project as a hybrid production combining 3D animation, 2D animation, motion graphics, motion capture, modelling, texturing, compositing and large-format projection design.

The experience was structured across three sequential rooms. The team worked on the first and last rooms, including a 2x8 metre double-depth projection screen powered by eight short-range projectors. The project was developed over 12 months and required around 8 TB of storage, showing the scale and technical weight of the production.

The visual work covered very different historical and cinematic needs: prehistoric underwater landscapes, Mount Titano emerging and eroding over millions of years, cave-painting inspired sequences, ancient Rimini, Dalmatia, and realistic historical characters. For Mount Titano, the production used a workflow based on Google Earth reference, photogrammetry, sculpting, retopology, displacement and normal maps, creating multiple versions of the mountain to animate its transformation through time.

Another major challenge was narrative accuracy. The museum content could not be purely decorative: every animation had to support a believable historical reconstruction. This meant working with reference, storyboards, voice-over timing and a strong sense of educational clarity, balancing cinematic impact with the need for faithful storytelling.

For the final room, the production used Rokoko motion capture for body and face performance to animate three realistic historical characters: Napoleon, Garibaldi and Santo Marino, the founder of San Marino. The characters were then rigged, animated, simulated, lit, rendered and composited into the museum experience. Antonio Buiano worked as Art Director and was responsible for modelling and texturing the three characters, including blend shapes.

[The Outcome]

The final result was a complex multimedia museum installation where technology and historical narration worked together: large-scale projections, CGI environments, 2D and 3D animation, motion capture characters, compositing and immersive storytelling.

For the portfolio, Titanus Museum is one of the strongest examples of large-scale production effort. It shows the ability to work on a long, technically demanding project where visual quality, historical credibility and installation constraints all had to coexist.

The project demonstrates not only CGI and motion design skills, but also the ability to build a coherent visual experience for a physical space — a museum narrative where every technical choice had to serve the story, the audience and the cultural context of San Marino.

[The Brief]

Brands and creative teams increasingly need fast, high-impact visual content designed to stop the scroll. FOOH videos are built around this need: impossible scenes placed inside real urban environments, creating the illusion of a spectacular out-of-home activation.

The challenge was to create short videos that felt instantly understandable, visually surprising and believable enough to work as social-first advertising content.

[The Strategy]

I developed a series of FOOH concepts combining CGI, VFX, compositing, AI visual direction and motion design.

Each video was built around a clear visual hook: oversized products, surreal urban interventions, impossible installations, animated objects or brand moments integrated into real-world spaces. The work required balancing spectacle and plausibility, making sure the illusion felt strong while keeping the brand or product readable.

The process involved concept development, visual references, scene planning, camera logic, 3D or AI-generated elements, motion direction, compositing logic and final social-ready framing.

[The Outcome]

The FOOH series became a strong showcase of fast visual prototyping, creative direction and hybrid production workflows.

The project demonstrates my ability to turn simple brand ideas into high-impact visual content, using CGI, VFX and AI tools to create impossible scenes that feel designed for social media, advertising pitches and campaign development.

[The Brief]

hlpy needed a series of tutorial videos to explain how its digital platform, portal and app work for users and service partners.

The challenge was to make operational flows clear and easy to follow: roadside assistance, case management, real-time information, partner tasks, intervention timing and app-based service coordination. hlpy positions itself as a “digital for real” motor assistance platform, integrating roadside assistance, repair and maintenance services with real-time information for drivers and business clients.

[The Strategy]

I worked on a series of tutorial videos designed to guide users step by step through the hlpy ecosystem.

The visual approach focused on clarity, UI readability and functional motion graphics. Instead of treating the videos as generic explainers, the work was built around the real product experience: portal screens, app flows, interface actions, user decisions and operational steps.

The motion design helped structure the information through:

screen highlights
animated callouts
step-by-step transitions
cursor / tap guidance
UI zooms and focus areas
clean title cards
simple graphic overlays
functional pacing for tutorial comprehension

The goal was to make the platform and app feel more accessible, reducing friction for users who needed to understand how to manage assistance requests, accept or refuse missions, declare intervention times and coordinate roadside operations. The hlpy app is described as a B2B service application for roadside assistance companies, assigning activities to service partners and supporting geolocated real-time management of assistance.

[The Outcome]

The final tutorial series became a practical communication tool for explaining hlpy’s portal and app workflows.

The work helped translate a complex operational platform into clear, guided video content, making each process easier to understand for partners and users. For the portfolio, this project shows my ability to use motion graphics as a functional layer for product education, where the priority is not spectacle but usability, clarity and step-by-step communication.

[The Brief]

Lucchini needed two explainer videos to present complex industrial products in a simple and accessible way.

The challenge was not technical complexity, but visual synthesis: the products had to remain recognizable while being simplified enough to work inside a clean animated explainer style. The project also included the recreation of the factory environment in a simplified isometric visual language.

[The Strategy]

The visual approach was based on simple 3D models, flat textures, clean animation and an isometric point of view.

I focused on understanding how the products and machines worked, then reducing that complexity into clear 3D elements that could communicate the process without excessive detail. The factory and machinery were rebuilt as simplified animated models, keeping the style readable, technical and visually coherent.

[The Outcome]

The final result was a pair of industrial explainer videos that transformed complex machinery and production logic into a clear, stylized and accessible visual story.

For the portfolio, this project shows my ability to use 3D motion graphics as a communication tool, simplifying technical content without losing recognizability or functional clarity.

[Role Overview]

During my collaboration with 2WATCH, I worked on animated content and motion graphics supporting the brand’s communication, editorial formats, gaming properties, esports initiatives and branded entertainment projects.

This was not a single-output project, but a continuous production flow of visual and animated assets designed for multiple channels: social content, videos, events, tournaments, live streaming, presentations and brand activations.

[What I Worked On]

The collaboration included a wide range of animated materials:

motion graphic videos for branded content
animated graphics for gaming and esports formats
intros, outros, lower thirds and title animations
animated assets for social content
visual packages for tournaments, events and live streams
promotional content for the 2WATCH app, community and initiatives
motion design for campaigns and partnerships
animated elements supporting editorial and commercial videos
[Design Approach]

The visual language had to match the 2WATCH world: fast, digital, competitive and deeply connected to gaming culture.

Motion graphics were used to give rhythm to the content, reinforce the brand identity and make messages, calls to action, formats and tournament mechanics more immediate.

The approach was strongly social-first: every animation had to be quick to read, visually energetic and adaptable to a media-tech ecosystem built around entertainment, esports, creators and community.

[The Outcome]

The ongoing work with 2WATCH became a key part of my experience in motion graphics for gaming and branded entertainment.

This collaboration allowed me to work inside a fast-evolving visual ecosystem, producing animated content for formats, campaigns, events and cross-platform communication.

For the portfolio, this project shows my ability to work not only on single videos, but on a continuous stream of motion content, maintaining visual consistency, execution speed and adaptability across different communication needs.

[The Brief]

Generazioni Connesse needed a series of educational video contents able to speak to young people about digital awareness, online behaviour and responsible use of the web.

The challenge was to make institutional and educational topics feel more accessible, clear and engaging for a young audience, using a visual language closer to digital culture, social media and online communication.

[The Strategy]

I worked on the 2D motion graphics of the videos, creating animated visual elements that supported the storytelling and helped make the content more dynamic and easy to follow.

The motion graphic work included animated titles, graphic overlays, icons, transitions, kinetic typography, callouts and visual emphasis elements. These components were designed to highlight key concepts, structure the information and add rhythm to the videos without distracting from the educational message.

The approach was based on a clean and direct 2D animation language: simple shapes, readable typography, clear movement and timing calibrated around the narration. Motion was used as an explanatory tool, helping transform abstract digital safety topics into visual information that could be understood quickly.

[The Outcome]

The final videos gained a more contemporary and engaging visual layer, making the educational content clearer and more appealing for schools, students and young viewers.

The 2D motion graphics helped guide attention, reinforce important messages and give the videos a stronger editorial rhythm. For the portfolio, this project shows my ability to use motion design not only as decoration, but as a functional language for education, awareness and public-interest communication.

[The Brief]

Eglefino is an animated musical based on Laura Carusino’s book Eglefino, sei speciale!, created as an inclusive story about diversity, belonging and the search for one’s place in the world. The film brings the character of Eglefino from the book to screen, combining a soft children’s storytelling tone with a technically ambitious animation pipeline.

The challenge was to support the visual development of a hybrid animated project where paperless 2D animation and high-quality CGI had to coexist inside the same expressive universe. The final look needed to feel coherent, emotional and accessible for a young audience, while still reaching a strong technical standard for broadcast animation.

[The Strategy]

I collaborated on the project focusing on Unreal Engine R&D and look development.

The work was centered on exploring how Unreal could support the visual direction of the film: testing real-time rendering possibilities, lighting behavior, material response, scene atmosphere and the overall translation of the cartoon style into a production-ready CGI language.

The R&D process was important because the project required more than standard 3D execution. It needed a visual bridge between a hand-crafted animated sensibility and a real-time / CGI workflow. The look development phase helped define how characters, environments, lighting and materials could preserve the warmth and charm of the original story while benefiting from a more advanced 3D pipeline.

The goal was to make the technical layer invisible: using Unreal and CGI research to reinforce the emotional tone of the film, not overpower it.

[The Outcome]

Eglefino became a 33-minute animated film available on RaiPlay and broadcast on Rai Yoyo, produced by Enanimation in collaboration with Rai Kids. The production involved a large Italian animation team and combined 2D paperless animation with advanced CGI, positioning the project as a technically relevant animated special for children and families.

My contribution to Unreal R&D and look development was part of the visual experimentation behind the project, helping explore how real-time tools and CGI workflows could support a warm, musical and inclusive cartoon world.

[The Brief]

The project was developed for Apple Vision Pro, at a time when the device had just entered the market and spatial computing was still a completely new design territory.

The challenge was to design an app experience for a platform where traditional screen-based rules were no longer enough. The interface had to work in space, respond to a new interaction model and combine usability, visual clarity and immersive 3D elements inside the Vision Pro environment.

[The Strategy]

I worked on the 3D modelling and UI/UX design of the app, focusing on how digital objects, interface components and spatial interactions could coexist inside an immersive experience.

Being among the first to design for Apple Vision Pro immediately after its release made the project especially important. The work required exploring new design rules almost in real time: spatial hierarchy, depth, scale, readability, object placement, user focus and interaction flow.

The process combined:

spatial UI/UX design
3D modelling for immersive environments
interface layout for Apple Vision Pro
visual hierarchy in 3D space
usability inside a spatial computing experience
optimization of 3D assets for real-time use
design adaptation to a new interaction paradigm

The goal was not simply to translate a standard app into a headset, but to rethink the experience around the possibilities and constraints of Apple Vision Pro.

[The Outcome]

The project became a key milestone in my work with immersive technologies.

Working on Apple Vision Pro just after its launch gave me the opportunity to design for a new platform at a very early stage, when many visual and interaction conventions were still being defined. The experience strengthened my ability to work across 3D design, spatial UI, UX logic and emerging technology.

The final app design combined functional interface design with immersive 3D modelling, creating a spatial experience that felt native to Apple Vision Pro rather than adapted from a traditional screen.

[The Brief]

isybank University Master needed a short, high-energy promotional video to drive registrations for its university gaming tournament, with a specific focus on Rocket League.

The challenge was to speak directly to a young gaming audience while keeping the communication clear: university students could compete, represent their university and win scholarships through a tournament format where gaming performance and academic merit both mattered.

[The Strategy]

We built the video as a vertical CGI trailer inspired by the visual codes of Rocket League: speed, impact, cars, ball physics, arena logic and competitive tension.

Instead of creating a static registration promo, the sequence turns the tournament into a mini cinematic event. The car moves through an urban environment, chases the ball, scores, and triggers the reveal of the University Master trophy. The rhythm is fast, social-first and game-native, designed to capture attention quickly and lead into a clear final CTA.

The visual language combines CGI, motion graphics, camera movement, 3D animation and branded end-card design. The first part builds adrenaline through action; the final frames switch to a clean promotional layout with the campaign message, partner logos and registration URL.

[The Outcome]

The final output is a compact 20-second vertical promo designed for social distribution and mobile viewing.

The video translates the tournament mechanics into a more spectacular and immediate visual experience, making the registration message feel closer to a gaming trailer than a standard institutional announcement. CGI and motion graphics helped connect the isybank University Master identity with the energy of Rocket League, creating a dynamic asset for awareness and sign-up communication.

[The Brief]

The project was developed around an early exploration of Microsoft HoloLens 2, with the goal of designing a mixed reality experience that could combine spatial UI, 3D assets and interactive content inside a new generation of wearable technology.

The challenge was to work on a platform that was still in preview, where the rules of interaction, interface design and spatial visualization were not yet fully established. The project required a different approach from traditional screen-based design: every visual element had to exist in space, be readable through the headset and feel natural inside a mixed reality environment.

[The Strategy]

I worked on the UI design and 3D modelling side of the project, focusing on how visual information and three-dimensional assets could live inside the HoloLens 2 experience.

The work required thinking beyond standard interface design. Buttons, panels, icons and graphic elements had to be designed as spatial objects, while the 3D models needed to be optimized, clean and functional inside a real-time mixed reality environment.

A key part of the experience was the opportunity to work in advance on HoloLens 2 directly in the Microsoft environment in the Seattle / Redmond area. This made the project especially relevant: it was not just a production task, but an early hands-on exploration of a technology that was still emerging.

The process combined:

spatial UI design
3D modelling
mixed reality interaction logic
real-time asset optimization
visual hierarchy inside AR space
testing directly through the headset
adaptation of design rules to a new device and user experience
[The Outcome]

The project became a major step in my professional path, giving me direct experience with mixed reality design, spatial interfaces and early HoloLens 2 workflows.

Working on the device before its wider adoption, and doing it inside the Microsoft ecosystem in the United States, gave the project a very high level of technical and creative value. It pushed my work beyond classic 3D production and into the field of immersive interfaces, where modelling, UI and user experience need to work together in real time.

It represents one of the most important projects in my portfolio because it shows my ability to adapt to emerging technologies, design for new interaction paradigms and create visual content for advanced mixed reality environments.

[Role Overview]

During my years at Spreaker, I worked as Visual Designer and Motion Animator, contributing to the platform’s visual communication across marketing, product, social content and branded assets.

The role required a continuous balance between creativity, consistency and speed: designing visual materials that could support a fast-moving digital product while keeping the brand recognizable across multiple touchpoints.

[What I Worked On]

My work included the creation of static and animated assets for different communication needs:

Visual design for marketing and product communication
Motion graphics and animated content
Social media assets and campaign visuals
Explainer-style animations
Branded layouts and graphic systems
Animated transitions, titles and visual sequences
Internal and external presentation materials
Digital content adapted to different formats and channels
[Design Approach]

Spreaker is an audio-first platform, so the main creative challenge was giving visual form to something that is primarily listened to.

I worked on translating podcasting, creator tools and platform features into clear, engaging and scalable visual content. Motion design played a key role in making abstract or technical messages easier to understand, adding rhythm, hierarchy and personality to the brand communication.

The approach was always functional: every animation or graphic asset had to support a message, guide attention and work within a coherent visual system.

[Skills Developed]

This experience helped consolidate my ability to work inside a real digital product ecosystem, where visual design is not just about single outputs, but about building consistency over time.

Key areas developed:

Visual Design
Brand consistency, layout design, digital assets, campaign visuals and communication systems.

Motion Graphic
Animated sequences, transitions, kinetic layouts, explainer content and social-first motion assets.

Product Communication
Turning product features, platform tools and technical messages into clear visual stories.

Scalable Workflow
Creating assets that could be adapted across formats, channels and recurring communication needs.

[The Outcome]

My years at Spreaker shaped a strong foundation in motion design, visual communication and digital product storytelling.

The experience gave me the ability to work with continuity inside a brand ecosystem, producing visual and animated content that was functional, recognizable and scalable across different channels.

It represents an important part of my Motion Graphic background: less focused on one single campaign, and more on the long-term development of a consistent visual language for a digital platform.

[The Brief]

Absolut Vodka wanted to explore a new kind of digital brand presence: a virtual ambassador able to live across social content, events, cultural activations and entertainment-driven experiences.

The challenge was to create A.L.I.A.S not as a simple CGI character, but as a digital personality connected to Absolut’s world: nightlife, music, creativity, self-expression and contemporary culture.

[The Strategy]

We developed A.L.I.A.S as a CGI brand avatar built through a high-end real-time production pipeline.

Following the same technological logic used for ho.lly, the project combined character design, Unreal Engine, motion capture and real-time rendering to create a digital performer capable of moving, reacting and appearing across different branded formats.

The animation workflow used motion capture performance, giving the avatar a more natural physical presence and avoiding the stiffness of traditional keyframed brand characters. Unreal Engine allowed the project to work as a flexible real-time system, where lighting, camera, environment and performance could be managed with production-ready visual quality.

A key part of the project was the avatar’s ability to interact with people in real time during live activations. At Milan Games Week, A.L.I.A.S became more than a visual asset: she functioned as an interactive digital presence, able to engage directly with the audience inside a real event context. Absolut also referenced A.L.I.A.S and Milan Games Week in its own public communication.

[The Outcome]

https://www.instagram.com/absolutely_alias/?hl=it

A.L.I.A.S became a CGI brand avatar designed to extend Absolut Vodka’s identity into digital entertainment, social communication and experiential formats.

The project translated the brand’s cultural world into a virtual character system, combining art direction, CGI, motion capture and Unreal Engine into a high-effort production pipeline. The result was a digital ambassador with a stronger sense of presence, designed to move beyond static brand content and open the door to more interactive, character-led communication.

The real-time interaction at Milan Games Week showed the potential of the avatar as a live brand experience: not just a character to watch, but a digital figure people could interact with directly.

[The Brief]

2WATCH needed a promotional video to advertise its app and communicate its value to a wider audience. The challenge was to make the product feel immediate, entertaining and credible, using Giorgio Chiellini as the main talent to bridge the worlds of football, gaming and digital entertainment.

[The Strategy]

We built the spot around Chiellini as a recognizable sports icon, using his presence to give authority and memorability to the app communication.

The visual language combined hand-drawn illustrations, frame-by-frame animation, branded motion graphics and VFX elements to create a more energetic and distinctive style. Instead of relying only on standard digital overlays, the spot used a crafted animated layer to give the app communication a more playful, dynamic and recognizable identity.

The direction pushed the video closer to a branded entertainment piece: fast, social-friendly and visually aligned with the 2WATCH ecosystem.

[The Outcome]

The final spot became a promotional asset for the 2WATCH app, designed to increase awareness and make the platform feel more accessible, dynamic and recognizable.

The use of hand-drawn graphics and frame-by-frame animation gave the video a stronger visual personality, helping translate the app’s digital identity into a more engaging and memorable communication format.

A 360° immersive visual experience showing the making of pesto through CGI, motion graphics and projected storytelling.

[The Brief]

Barilla wanted to create an immersive experience that could show visitors how pesto is made, transforming a production process into an engaging visual journey. The installation had to work across four projected walls and a large 3x3 metre conference table, guiding the audience from the basil plant to the final product story.

[The Strategy]

We designed the experience as a multi-surface CGI journey. Instead of explaining the process through a traditional video, we turned the room into a projected environment where every stage of pesto production could unfold around the visitors.
The visual system combined 3D environments, organic modelling, animated food elements, character animation, motion design, compositing and internal rendering. The final table sequence worked as a petit-chef style moment, with ingredients and recipes animated directly in front of each diner.

[The Outcome]

The final installation became a complete immersive experience made of 21 final export files and more than 30 minutes of production content. Developed in three months with a compact team of four artists, the project transformed a food production process into a cinematic, entertaining and highly visual brand experience.