Design for the Estonian translation of Walter Benn Michaels’ book “The Beauty of a Social Problem” published by Estonian Academy of Arts Press (2020).

Inspired by Phil Chang’s meta-photography pieces analysed in the book, I hand-painted “photos” on the covers of the whole edition with photosensitive emulsion. This cover photo changes its color depending on the amount of daylight it is exposed to.

Other choices in material, layout and typeface – inside-out cardboard cover with glossy lamination, subtly strange book format, my own typeface, Mingi, with its parasitic tendencies towards Asian typefaces – also reflect an ambiguous, self-referential, metaphysical approach towards form, similarly to what Michaels appreciates in sociocritical art.

Catalogue for the Studio Museum of the sculpture artist Amandus Adamson in Paldiski, Estonia (2021). Alongside the official narrative of the great artist’s life story, I suggested using the original unpublished memoirs of Adamson’s children, which offer detailed and heartwarming insights about his life. The traditional artist biography is printed on high-quality glossy paper, while the more intimate reflections run alongside on bulky book paper.

The typeface used for the book’s three languages is Niina by Patrick Zavadskis, an elegant yet quirky fusion between cyrillic and latin – a marvellous fit for the cosmopolite Adamson, who actively travelled between St. Petersburg, Estonia and Italy. The pattern on the cover as well as the colors are inspired by the decor of his ateliler in Paldiski.

Some of the teaching I’m engaged with at the design faculty of the Estonian Academy of Arts.

➀ Research and writing course with its base in affect theory (specifically Kathleen Stewart and Lauren Berlant) for the 3rd year BA graphic design students (2019–...).

➁ “Listening, Inclusive, Aware: On Feminism and Complexity in the Design Context”, a talk for the general lecture series “Design Issues” for BA design students (2020).

➂ The main book designing course for the 2nd year BA graphic design students (2021). Giving an overview of historical and contemporary bookmaking procedures, doing tutorials in Adobe Indesign and walking the students through the designing, layouting and producing of a physical text-based book, based on the essay “The Art of Loving” by Erich Fromm.

proloogkool is a multidisciplinary informal educational platform initiated and run by Maarin Ektermann. In fall 2020, proloogkool launched the first edition of its yearly self-organised school programme for practicing artists and art workers. In addition to elements of visual identity, I co-created and produced the workbooks that participants can use to structure their individual work process.

For the summer vacation period of 2020, Estonian feminist organisation Feministeerium composed and published the infotainment crossword puzzle book Feministik. I designed the full-color 20-page booklet, including contributions with background patterns and illustrations (mostly made using Glyphdrawingclub) and editing.

Renewal of the visual identity of ITS Estonia, an organisation that unites public, non-governmental and private sectors in the field of intelligent transportation systems.

At the beginning of the COVID pandemic in March&April 2020, I wrote about the craze of “hacking the crisis” and the coronavirus as a design challenge in the Estonian weekly culture newspaper Sirp.

Read the article (in Estonian) here.

A few inventions and contributions I made while working as an organising confectioner and recipe developer at NOP Cafe&Shop:

➀ A fusion of the south of Europe and the south of Estonia: Basque cheesecake with caraway seeds and curd cheese (in the style of Estonian sõir), covered with cranberry coulis and caramelised black bread crumbs.

➁ Barley scones (a fusion of the English soda pastry and Estonian karask) with blackcurrants, and gluten free red cabbage kimchi&feta pies.

➂ Vegan grapefruit&orange cream of wheat with almond custard – a reinvention of the classic grandmother’s semolina dessert for Women’s Day. Courtesy of the gluten free organic red velvet cake recipe belongs to my co-baker Rebecca Moosus.

➃ Paskha Easter cake: a pasteurised take-away solution for the COVID lockdown period instead of the traditional Russian-orthodox raw curd cheese dish.

➄ Classic Runeberg cakes that were warmly welcomed by our Finnish frequenters in February.

➅ NOP’s 2020 semla buns with spelt&oat bread, almond cherry jam and farm whipped cream.

Design, photoediting & layouting for artist Sten Eltermaa’s photo book “Transparency Register” (2020), a project drawing parallels between the architecture used in modern and postmodern institutions of power and governance, and the rhetoric that liberals in politics have used or currently use.

The covers of the books are cut from semi-opaque mirror film, which is often used on the windows of aforementioned facades as well as in the accompanying exhibition of Eltermaa’s photo series at Draakoni Gallery.

Design & layouting for the Estonian translation of Mark Fisher’s book “Capitalist Realism: Is There No Alternative?” (2008/2019). The form of the book is conceptually rooted in Fisher’s figure of capitalism as the “gray curtain of reaction which marks the horizons of possibility under capitalist realism”, into which even “the tiniest event can tear a hole [and] have a disproportionately great effect.”

Published by Estonian Academy of Arts Press (2019). The design uses typefaces by Andree Paat, Margot Léveque and Bold Decisions. Chosen as one of the 25 Estonian Most Beautiful Book Designs 2019 and shortlisted in the Best Book Designs from all over the World 2020 competition.

In fall 2019, I was invited to write the 8th apparition of Dear Friend, a snail-mailed monthly letter format publication covering design events, issues and ideas initiated by Sandra Nuut and Ott Kagovere.

Read the letter here.

In August 2019, I was in charge of preparing food for and with 32 participants of ??? Summer School, a seven-day bio-typography design workshop in rural Estonia. The aim was to use the dining table to share personal stories and gut feelings and bring the group together. Accordingly, each dish that I had prepared for the week’s menu had a personal backstory of my own, which I shared with the participants.

Layouting of the Estonian translation of John Berger’s “Ways of Seeing” (1972) following the original design by Richard Hollis. Published by Estonian Academy of Arts Press (2019).

“The Dining Table”, my MA graduation work, was a two-day conceptual catering event at the Sandberg Institute Critical Studies End of Year Show (June 2019), for which I produced a long blanket-wrapped table with chairs, printed textiles and bowls, and a menu on the themes of cultural transformation, adaptation, staining and fermentation.

Visitors were served food on plates carrying short texts written by me and invited collaborators, who also contributed to the table programme (Patrycja Rozwora, Nemo Koning and Harriet Foyster). Three loaves of black&white marbled sourdough bread, a recipe which symbolises cultural integration and symbiotic growth, were feeding and fermenting on the table throughout the day and baked in the Rietveld Academy’s student-run bread oven.

“Digging Dirt, Licking Soil” is the thesis of Lucie Fortuin (MA Critical Studies, Sandberg Institute), a poetic journey of thinking through intuition and weather (2019).

“Your Attention, Please” (April 2019) is a collection of texts by students of the Critical Studies department of the Sandberg Institute, including my essay “The Investment of Stretching. An Interrelated Becoming on Belonging and Love”. I was also responsible for the book design, layouting and post-production together with course mates Nick Reilly and Ben Tupper.

From Precarity (April 2019), the second issue – focused on the theme of contemporary (artistic) labour – of the PUB/Sandberg Institute journal coinitiated by me (as the main editor) and fellow students connected to the student-run publishing initiative PUB. The launch event of the issue, which was hosted by the spatial design collective Fabulous Future, featured readings and screenings by contributors as well as an open discussion on work and leisure habits and forms of living collectively.

Edited together with Ada Reinthal, Maike Statz, Aimee Theriot, Theresa Büchner. Designed by Carmen Dusmet Carrasco, Tali Liberman, Nicolo Pellarin, Andreas Trenker.

“Collective lunch for and with fellow lactobacteria, yeast and students” (March 2019, Sandberg Institute, Amsterdam) to contemplate micro/macrocultural contamination, change and adaptation. A healthy reminder that every cultural change and adaptation takes trial, error and time, all in its own time, as long as we keep reaching out, offering bait and finding compatibilities.

While living in Amsterdam (2018–2019), I took up baking Estonian style black sourdough rye bread, which led to further fascination with fermentation and food cultures. Bread-related activities at the time included:

➀ Selling my black bread in the Rietveld Academy community from February to July 2019. The label is designed with Heikki Lotvonen’s typeface Basic Pie (made with his Glyphdrawingclub).

➁ A small zine with a poem as an ode to making black sourdough bread.

➂ Sourdough bread making workshop with the Critical Studies course: slapping, folding and smashing the dough (and capitalist patriarchy) while Luca Soudant provided furious gabber beats (April 2019).

“Foundations” is a booklet consisting of the collected visual and textual works and exercises of Harriet Foyster (MA Critical Studies, Sandberg Institute) related to the topic of housing and homemaking (2018).

“Elegy on a Semantic Trauma”, a musical performance-lecture on the changing meaning of the semantically unreliable phrase “I love you” throughout my life. Sandberg Institute’s Critical Studies End of Year Program at Butchers Tears, Amsterdam (15.06.2018).

The text was later published in the Dutch cultural journal Simulacrum, the theme of the issue being “love” (June 2019; designed by Alice Dhinaut and Sophie Rentien Lando).

Ongoing renewal of the visual identity materials of the Estonian Academy of Sciences featuring a custom-made typeface (2016–…).

“For Porosity” (June 2018), the first issue of the PUB/Sandberg Instituut journal, was coinitiated by me (as the main editor) and fellow students connected to the student-run publishing initiative PUB. Via an unthemed open call, the first issue closely weaved together and showcased a selection of works-in-progress by currently studying MA students.

Edited together with Ada Reinthal, Maike Statz, Holly Childs. Designed by Miquel Hervaz Gomez, Dario Dezfuli, Sheona Turnbull.

Have a closer look here.

Homeless Texts (2017–…) is an independently initiated and published series of booklets that functions as a platform for publishing interviews, essays, translations and other writings that we regard as not having a good existing outlet but nevertheless important to make public. With Maarin Ektermann (proloogkool) and Ott Kagovere.

“On Hyperstition and Branding”, an essay published in “Can This Be Something Else”, a collection of texts by students of the Critical Studies department of the Sandberg Institute (2018, design by Zuzana Kostelanská).

I presented the text as a slideshow-accompanied lecture at the book launch event in Fanfare, Amsterdam (17.02.2018). It was later published as part of Vaulte magazine, a project on late capitalist consumption by Composite Co (2019).

A 3-day public programme & pop-up exhibition on the topic of artistic labour at the Tallinn Photo Art Fair 2017, where GD project space was invited to participate. Using the services of sellers on Fiverr, we ordered a logo design and copywriting to use on our promotional brochure while also asking them to write about their work life, and printed merchandise to sell based on the answers. Contributors included Francois Girard-Meunier (installation-performance “Flexible Bodies”), Maarin Ektermann and Airi Triisberg. Together with Ott Kagovere.

Visual identity and book design (music score for Current 93’s album “Soft Black Stars”) for Terentyev Music Publishing Company, a transcription initiative collaborating with various ambient piano/guitar artists (2017).

Book section at the exhibition Signals from the Periphery at the Tallinn Art Hall that gives an international overview of designer-initiated publishing practices throughout the past 10–20 years. Together with Ott Kagovere, we decided on the selection of books, constructed the shelves, composed, translated, edited and designed an accompanying booklet with information about every featured publisher and book, and added a numeration tag system. With Elisabeth Klement, Laura Pappa and Ott Metusala.

GD project space (2016–2017) was a self-initated semi-regular programme of reading groups, discussions, guest lectures and movie nights dealing with loosely design-related issues in a small studio room outside the city centre of Tallinn. Lecturers included Tommi Vasko, Kadi Estland & Rebeka Põldsam, GRMMXI, Rab-Rab Journal, Florian Marcus, etc. Together with Ott Kagovere.

Campaign, visual identity and materials for the open day of the Estonian Academy of Arts 2016. Every letter of the alphabet was connected to an often absurd real-life story of a currently studying art student, which we collected, edited and published during the month of March as an online warm-up campaign to the open day event. With Juuso Siltanen & video and live feed contributor Henno Luts.

Completed as one of my BA graduation works. Won silver prize at the Estonian Design Awards 2016 in the Seasonal Identity category.

“Six printed discussions and a selection of referential material”, one of my graduation works at the department of graphic design of the Estonian Academy of Arts (exhibition GD16SHOW at the EAA Gallery): a newspaper consisting of transcribed conversations with fellow students, tutors and practitioners on the role of design education and graphic designers on a local and global scale, accompanied by a selection of books and texts mentioned in the discussions.

The process was preceded by a series of self-initiated reading groups to compensate for the felt lack of design theory classes in our program. Together with Ott Kagovere (2016).

Specimen for Laplace Mono, a monospace typeface by Anton Koovit (Fatype) that combines historical Didone style with early computer aesthetics. The specimen refers conceptually and materially to desktop printing in the 1980s-90s: each 6-page brochure is accompanied by a unique dot matrix printed sample glyph. Within AKU (2016).

Sugu: N is an irregularly published feminist journal that grew out of a theatre play about the experiences of a group of Estonian actresses. Based on the design of the first issue by Uku-Kristjan Küttis, I designed the second issue. Within AKU (2016).

“The Estonian National Museum’s main building at Raadi: an Essay on Spatial Culture” tells the story of the recently built national museum of Estonia. Gregor Taul’s essay took the form of five booklets with decreasing thickness, which refers to the form of the new building. Within AKU (2016).

Take a closer look here. Won the Golden Book Special Award at the 25 Estonian Most Beautiful Book Designs 2016 competition.

Collaborations with the photography artist Alissa Nirgi (Kiinvald), who deals with topics of alienation, migration and adjusting.

➀ A photo book documenting the billboard exhibition Kaspar is Sitting about the alienating effect our digital devices have on our intimate relationships (2016). Each book cover was cut out of the same PVC banners that had been on view on billboards around Tallinn.

➁ Posters and brochures for the exhibition A New Land Outside My Window about the relocation of Alissa's Ukrainian grandmother (2015).

➂ Posters and exhibition design for Two by Two (Hobusepea Gallery, Tallinn), a photographic study of pairs of mormons on their religious missions in Estonia (2017).

A practical manual for the Estonian Academy of Arts’ graphic design department’s risograph printer. The design plays with and amplifies elements from classic appliance manuals and is accompanied by a 25-layer risograph printed sample sheet (2015).

“A Selection of Photos from Tallinn’s Real Estate Market” is a collection of somehow peculiar photos of apartments for rent or sale in Tallinn during February and March 2014, giving insight into lower-middle class people’s homes and the tastes and values they represent. A sympathetic observation of a certain era’s vernacular real estate marketplace habits.

Chosen to the top 10 of the Self Publish Riga dummy book contest.

This website is set in Mingi, my current typeface-in-progress.

Thanks a lot to Sven Raju for coding help.