Alongside studio-based work, Lucienne writes, lectures and publishes on her subject. A signatory of the First Things First 2000 manifesto, her books include The Designer and the Grid [Rotovision, 2002] and Good: An Introduction to Ethics in Graphic Design [AVA Academia, 2006]. Her latest book, Design Diaries: Creative Process in Graphic Design [Laurence King, 2010] was co-written with design educator and writer Rebecca Wright.
With Rebecca, Lucienne is co-founder of GraphicDesign&, a pioneering publishing house dedicated to creating intelligent, vivid books that explore how graphic design connects with all other things and the value that it brings.
For her presentation at TYPO London (October 19, 2012, 11:00 am in Jeffery Hall), Lucienne will be joined by Rebecca and the social scientist Nikandre Kopcke.
1. Which work are you particularly proud of? Which work best represents your style or approach?
Given the theme of this year’s TYPO London it’s apposite to show work that I am proud has made a difference ‘socially’. Here’s an old favourite, an annual review for Breakthrough Breast Cancer when I was their design consultant. At the time one in twelve women in the UK developed breast cancer so using this as a theme seemed obvious.
Twelve photographers were invited to work with us. Shown here are the contributions from Clare Park and Fleur Olby. Fleur’s is a heartrending shot taken in response to hearing about a woman who had frozen food for her family before she died.
This text spread is really indicative of my approach to typography. Ever since reading Jan Tschichold I’ve been interested in the relationship between abstract art and typographic layout. Here the graphic interventions are restrained – a combination of alignments and large blocks of colour guide the reader around the text.
The subject matter was a bit gory but I took real delight in working on the recent Wellcome Collection exhibition Brains: the Mind as Matter and making the material as accessible and engaging as possible. The show’s focus was not what brains do to us, but what we have done to brains in the name of medical intervention, scientific enquiry, cultural meaning and technological change. Slicing, cutting, collecting and classifying were our starting point. We wanted to ‘preserve’ the exhibition title and visited the Royal College of Surgeons to learn how specimens are made. Shown here is the entrance and our title graphic. Each letter is made of ‘slices’ of Perspex contained in an acrylic box filled with glycerin and water. The refractive index matches that of real specimens so at different angles each letter appeared in multiples.
The exhibition wall texts alluded to diagrams and labels, incorporating leader lines and typographic devices to code each exhibition section while long inventory lists of the material on display were positioned at the end of each wall.
I am in love with books so am pleased to have written several on graphic design related subjects and be co-founder of the publishing house GraphicDesign&. My favourite book as author is probably my first, The Designer and the Grid in which I indulged an ongoing obsession with abstraction, structure and systems both in terms of the book’s layout and its content.