Finn Design: Q&A with Studio EMMI’s Emmi Salonen

For the last 11 years, Studio EMMI has been at the heart of the creative scene in London and the UK at large. From Somerset House exhibitions and BBC graphics to British Council publications and hospital wards, her studio’s work has caught and communicated the cultural pulse of the capital since it first opened its doors in 2005. Showcasing a gift for vibrant colour and a palpable passion for typography, Emmi’s designs are used across the arts, culture, academic, retail and social sectors, and both her work and client list are often skewed towards social and environmental projects that serve to better the world.

In Zetteler’s book, social betterment and amazing design in one package is a massive double tick. And the fact that, like our own Sabine, Emmi is of Finnish extraction earns her a triple gold underline on the office notepad. So we were especially thrilled when she asked Zetteler to help spread the word about her studio.

We spoke to her about her background, the influence of Finland, typefaces, her proudest, professional triumphs and holiday homes in Slovenia…

I have always had a fascination for flyers, whether for the DIY music scene or grassroots calls for action, and how they conveyed different messages via different uses of type. (This is obviously at a time way before the internet.) It made me aware of graphic design as a profession, although until I started my Foundation in Art & Design at Central School of Speech & Drama, I thought I wanted to be a photographer. 

Not that I’m aware of but it’s hard to be objective. There’s a definite style in how the projects are run, and how the focus is on custom-made solutions, tailored for each project. I aim to let each project influence the design and the outcome.

I do love colour, so it could be said use of bold colours is part of the signature style at times.

 

I get asked this quite often or people might mention they see Nordic style in my designs. However, I think I’m mostly influenced by the multicultural UK, having studied here. The culture in Finland is really structured and they pay much more emphasis on timekeeping and being true to your word. This has influenced me hugely in how I run the studio and structure the design process. I’ve never missed a deadline and hugely enjoy having everything organised and planned thoroughly. I take joy in practical solutions over purely decorative ones.

I first came to London as a 14-year old and pretty much decided then that this is my city. I moved here the first chance I got, having just turned 19. I did try living in Brighton, Italy and New York but London always pulled me back. This is where home is, and where everyone fits in. After 20+ years, I still keep discovering, getting inspired and being surprised. I love London. It’s full of opportunities.

Well, there’s the everyday inspiration in looking around and being influenced by people’s characters, the street and, of course, music. But inspiration for graphic elements often comes from my notebook collection and my vast library of ephemera.

I have huge respect for Lucienne Roberts. She has run her practice with outstanding work for a long time, while remaining incredibly current. 

I really enjoy working on an event, festival or exhibition – place-making projects. It’s such a great opportunity to think about 2D and 3D surfaces, and how an identity can work in a physical space, as well as flat on paper and screen. It brings about challenges that are really exciting to tackle. Usually I would collaborate with someone with complementary skills and the whole process is almost more community-like, with multiple levels of deliverables. It’s fantastic seeing it all come together after all that planning.

Then again, layout design is my real passion: coming up with formats, choosing papers and creating the graphic story that runs through the document, supporting the content, be it a book or leaflet. It’s quiet work where I get to keep my head down and develop a concept and structure that supports the material given to my by the client. I also feel that book design in particular is the only time I get to design an object – something that is for keeps, not a throwaway flyer or a passing event.

I suppose this is the real influence of being from a Nordic country: having an interest in the common good. So it has always been with me, in and out of design work.

I think being asked to talk at the AIGA National Design Conference in New Orleans was a pretty defining moment for me personally. I never expected to end up talking in front of a 2,300+ audience. And then having the video live online. It’s good I managed to stand up, never mind actually speak! It was a real honour.

I’d love the design world to become more inclusive and diverse. In a real, profound way.

A good cup of filtered coffee in the morning (did you know Finns drink the most coffee in the world?). That’s a good start; I can deal with anything that comes after. 

Of the newer typefaces, Akkurat is still exciting and has captured a movement in graphic design. But Courier is still my long term favourite – I can’t get away from the fascination of typewriters. 

Ha! I had to Google it. It looks lovely but could certainly do with A LOT more colour! My living room is a tropical haven, with strong patterns and far too many plants (I keep them for my ‘living colour’ study and observations). Any ideal getaway would have to follow suit, with its own set of colours and plants.