Get in touch

I’m a freelance designer: francesac.design is Francesco Sacchini, one person, not a studio or a collective. You always deal with me, from start to finish, with no middlemen between the person who thinks up the project and the person who makes it. The person who answers your first email is the same one who delivers your files.

I’m a designer based in Tuscany. I work mostly between Tuscany and Milan, but also remotely, with clients in other cities.

I don’t have a price list: every project gets its own quote. Once we’ve talked it through, I’ll send you the stages, timings and costs, with what’s included and what isn’t. If the budget is tight, we start with what matters most, with the same care.

It depends on what we’re making: a business card and an online shop don’t take the same amount of time. I set out the timings in the quote, phase by phase, before we start.

Yes. You can ask me for just the logo, just the website or just a render, or combine several things. I handle graphic design, 3D and web myself, so a project that involves all three stays in a single process, from first idea to finished file.

I’ve worked with private clients, small businesses, established companies and multinationals. Attitude matters more than size: I work best with people who believe in what they do and are keen to talk about it. And I work better when I can have my say: if you only need someone to carry out instructions, I’d rather tell you straight away.

A couple of lines about what you need is enough. If you already have a logo, photos, copy or a website you like, feel free to send them over. And if you’re not quite sure what to ask for yet, the form also has a ‘Not sure yet’ option: we’ll work it out together.

The logo, the colour palette, the typefaces and the rules for using them together. You can start with the logo alone or go all the way to a complete system, with brand guidelines that hold it together even when different suppliers work on it. From there, the mark carries through to everything else: posts, printed materials, pages, the website.

Yes. Business cards, flyers, posters, brochures, invitations, panels and window graphics come to you as print-ready files, and I also think about paper and materials. Print-ready artwork is exactly where I learned the trade, at an agency in Milan.

Yes: books, magazines and catalogues, from content to print file. If needed, I also design the layout system from scratch, meaning the grid, the typefaces and the rhythm of the pages. The magazines I’ve laid out include F.U.C.K. Magazine and T Magazine for TaniniHome.

Yes: posts, stories, carousels and campaigns, held together by a visual plan. I can design the format from scratch or work within a system you already have.

Shopify and WordPress, so that after handover the website stays yours: you can change copy, photos and pages yourself from their editor. I build the websites I design, so nothing gets lost between the design and the live site. When you need a tool that no platform offers, I build a bespoke one.

Yes. You change copy, photos, products and pages yourself, from the Shopify or WordPress editor, without touching a line of code. At i Fichi, for example, the partners update the menu and photos from the dashboard, on their own.

Yes. I write the copy starting from what visitors need to do on the site, and I optimise it for Google, so the site gets found by people looking for what you do.

Yes. I design the shop and the product pages, and I retouch the photos so the catalogue reads like a collection. When there are lots of products, I bulk-import them: product pages, photos and prices all go in together, and are updated the same way. One example is the Essere Bio shop.

It’s a tool built around the way you work, for when no off-the-shelf software will do: a management system, a members’ area, a mobile app. For Almas, which organises hikes in Tuscany, I built the system for managing their outings: the organisers can see on their phone who’s coming, who still has to pay and who’s on the waiting list.

Technical drawings, a survey or even just your instructions: from there I build the 3D model. I work on architecture, retail displays and products, and for a display I go all the way to the production drawings for the manufacturer.

A render is a photorealistic image built entirely in 3D, with materials and lighting worked out piece by piece. In a photomontage, on the other hand, I place the model inside a photo of the real location, with the same light and the same perspective: that way you see the finished project in place, before it’s built.

That’s exactly the point: you make decisions before going into production, and you can show a product before you have it in your hands. You can use it to present a project, for a catalogue or for the launch.

Yes, I’m an ENAC-certified A1/A3 drone pilot. I take aerial photos for surveys or to see a place from a different point of view, and they can become the base for a photomontage.

Yes, in the same way I use design software, 3D or code: it’s one more tool. The ideas and the choices come from me, and everything I deliver to you goes through my hands.

For your project I try out more directions before choosing one, and the right one doesn’t have to be scaled back to what’s easy to produce: with AI, many practical limits come down, and the idea can go as far as it wants.

To try out more directions before choosing one, to work on images faster and to build tools that would once have needed a programmer. I’ve always used code as a designer: with AI I can actually build what I design, such as a bespoke management system.

No, because originality lies in the idea and the choices. Before I open a file, I start from what you ask me for and look for the twist that takes the project one step further. AI comes afterwards: it helps me try out more versions of the idea and bring it to life faster.

No. A render starts from a model built to real measurements, so it shows the product as it is and can be used for decision-making and for production. A generated image, on the other hand, makes up whatever it doesn’t know: it’s useful for exploring an idea, much less so for showing an object that has to exist exactly as shown.