Visual identity of the exhibition Process Work at the RISD Museum which uses Sprig with ATF Franklin Gothic as a support for body copy. The exhibition explores the development of photographic printmaking processes and traces its historical legacy into the present day. Starting around 1825, a widespread interest in reproducing visual information faster and more cheaply fueled an explosion of experimentation in photographic printmaking techniques, with wide-ranging effects across visual culture and the fine arts. This exhibition highlights those early experiments and innovations, as well as the culture of mass-market illustration and printed media into which they first unfolded.

Curated by Sarah Mirseyedi, Andrew W. Mellon Fellow for Prints, Drawings, and Photographs.

Bescheriel is the cousin* of the infamous Bescherelle. Like Bescherelle, it is both a guide and a book.

In this zine, you will find a non-exhaustive arsenal of weapons, all aimed at attacking the current grammatical order. The goal is to create a new non-order—fluid, inclusive, and neutral. Every weapon is valid, and every battle is a victory, even the defeats. But beware of the Immortals, the great conservators of what we will call the ‘old world.’ Their minions won’t hesitate to use trickery to better erase you and ban these weapons.

A pdf is available here. See also Issuu.

On June 14th we embarked upon a kayaking adventure that would take us across the entire Deh Cho river (also known as the Mackenzie River) in the Canadian Northwest Territories. The river begins on the Western shore of Tucho (also known as the Great Slave Lake) and flows all the way up to the Beaufort Sea (which is a part of the Arctic Ocean).

Our journey began on the beaches by the small town Xátł’odehchee (also known as Hay River) and for 54 days we would make our way towards our goal, a small Inuvialuit hamlet known as Tuktoyaktuk. During our voyage we visited small communities along the way, such as Zhahti Kue, Tthek'éhdélį, Łı́ı́dlı̨ı̨ Kų́ę́, Pehdzeh Ki, Tulita, Tłegǫ́hłı̨, Rádeyı̨lı̨kóé, Tsiigehtchic, Inuvik and Tuktoyaktuk.

The area we crossed during those 54 days was vast – the Northwest Territories are approximately four times the size of our home country Finland, but hosts a population of merely 44.000. (It is estimated that bears outnumber humans in the NWT.) The people who live on the land we travelled through are to the most part First Nations: Dene, Gwich’in and Inuvialuit.

Wherever we landed, we were met with warmth and kindness, and there was not a moment we didn’t feel welcome on the land. We learned a lot from the people we met and the discussions we had helped us gain a better understanding of what life was like in these remote areas.

Along us we naturally also brought our adventure flag – the standard underneath which we felt our journey to be blessed.

The design of the flag, as the journey itself, was a collaborative effort. Alone we are nothing. Christoffer designed the flag, Viivi did the caribou illustration, and Haije served as our seamstress.

On the obverse side the Dene name for the river (Deh Cho) is spelled out along with the year of our expedition. On the reverse side the abbreviated version of Tuktoyaktuk is written on top of a caribou. (The name Tuktoyaktuk can be translated into ”looks like a caribou”.)

The typefaces on the flag are three digital revivals of type from the late 1800s/early 1900s. Mark Simonson’s Etna (a revival of Aetna, William Hamilton Page, 1871) is used for the words Deh Cho, with the year being ATF Wedding Gothic (originally released by ATF as Wedding Gothic in 1901), created by the design team at ATF, and the name Tuk is set in Cottonwood – based on Gothic Tuscan Italian, Wells & Webb 1854. Adobe’s version was designed by Barbara Lind, Joy Redick and Kim Buker Chansler.

The resulting flag brought a smile to the faces of everyone who saw it, and the people we encountered were clearly impressed by our humble effort. The first photo with our flag was taken just when we were about to cast away, the final one when we had reached the end of our journey. The pictures that are in-between these two shows the land we paddled through but they cannot begin to tell all the stories, encounters and events we experienced.

Whatever the photographs lack in artistic quality they more than make up for as memories of a summer well spent.

Motion campaign developed for National Arts Centre English Theatre’s Season 2024–2025. While using their already existing visuals, I was asked to develop a visual language encompassing typography, layout design and animation style that would span across six animated vignettes. The horizontal vignettes would be featured in the promotional campaign video, while the vertical vignettes would be shown on social media. I wanted the campaign to be bold, with each production being presented in a memorable and impactful way; the layout of each animated vignette resembling a movie poster.

Creative direction by no hands

An editorial project by Tânia Raposo & Ellmer Stefan.
Opuscolo is a gathering of texts on all matters, with a new typographic voice and ready to print for a reading session away from the screen. The ready-to-print pdfs are in A4 format, to be folded into A5. You can find a ready-to-print pdf and a screen-reading pdf, together with all the references of the publication in its are.na page.

The second issue is the essay Of Books by the French Renaissance philosopher Michel de Montaigne.

Injurial by Sandrine Nugue is used for the title and quotes in the text. Faune by Alice Savoie is used for the quotes authors and its translations, while the main text is set in ATF Garamond by Mark van Bronkhorst, Igino Marini and Ben Kiel, with Dapifer by Joshua Darden for italics. For the drop caps, Ellmer Stefan digitized an alphabet made out of tools. It can be found in the book Champ fleury by Geoffroy Tory, named Lettres Fantastiques. And the text ending symbol was produced with the Combination Book Border (Series 87) originally designed by Richard Smith of MacKellar, Smiths & Jordan and made digitally available by Ellmer Stefan and Johannes Lang through their project non-alphabets.