Franco Grignani

[11] In 1965 he took part in "Vision 65", the first World Congress on New Challenges to Human Communication,[12] held at the Southern Illinois University in Carbondale.

[13] He wrote various essays and taught both in Italy and the U.S.A.[14] Grignani’s projects are based on continuous research and experimentation in visual perception and the creative use of graphic and photographic media.

He focused on eliciting emotion from viewers through direct interventions of the image, distorting the plastically shaped using twist, rotation, warping and splits, or the dynamic, through progression, acceleration, and perspective reversals exchange.

[15] ”To affirm its useful role in visual communication, graphic art must rely on a large number of experiments in order to achieve perfect freedom, facing the routine daily activities.” Grignani believed in the significance of graphic art and its impact, both conscious and subconscious, on daily life.

[18] His daughters claimed, after his death, that the entry had been submitted on his behalf by a Mr. Spiriti, an owner of an advertising agency, who had asked him to provide some sample sketches.

[18][19][20][21] The Woolmark Company commented that the logo "has helped reinvent the global perception of wool as a natural, contemporary and glamorous fibre".

The flexible and elegant form, similar to a Möbius strip, is cited as portraying the quality of wool and expressing its softness and purity in a uniquely memorable image.

In 1968, Penguin's new art director for fiction, David Pelham, commissioned Franco Grignani to create a set of sixteen covers for a Sci-Fi mini-series in 1969-70.