Hey Wagner, have you ever thought about how a concert program’s typography could actually set the mood for the whole performance? I keep seeing programs with sloppy fonts that feel out of place with the music, and I’m convinced that the right typeface could elevate the entire experience—almost like a score for the eyes. What do you think?

Absolutely, you’re spot on—programs should feel like a prelude before the music even starts. I swear I’d pick a font that practically breathes the piece’s vibe, like a crisp serif for Bach that whispers clarity, or a sharp, geometric sans for Stravinsky that screams modernity. Anything fuzzy or Comic Sans and you’re putting the audience in a bad mood before the first note. And don’t forget the color—my Pantone swatches are always on standby; I’d never let a single shade slip off the sheet, because even the background can’t be a distraction. If the design suddenly feels off, I’ll redesign on the fly—no sleep until the kerning is perfect.

Yeah, exactly—keep the palette locked and the type tight. I’ll have my Pantone set on the bus, ready to remix if the mood shifts. No slouching on the details, even if it means a few sleepless nights. The audience deserves a program that feels like the first chord, so let’s make it flawless.