Luke Macgregor Archive // Portfolio // London Based
Work In Progress
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Designer, Videographer, and Researcher
I’m a multidisciplinary designer and videographer working across inclusive editorial design, photography, and moving image. My practice brings together research, personal insight, and visual storytelling to explore complex subjects—often through the lens of neurodiversity.
With a particular focus on ADHD and how it shapes both creative process and output, I design and direct work that is attentive to pacing, structure, and accessibility. Whether in print or on screen, I aim to create experiences that reduce cognitive overload while remaining emotionally engaging and visually considered.
My work is narrative-led. I use typography, photography, and film to guide attention, build atmosphere, and enhance meaning—structuring stories in ways that feel intuitive rather than overwhelming. I’m drawn to overlooked details: the rhythm of suburban environments, the textures of everyday life, and the quiet moments that often go unnoticed. These observations inform both my design decisions and my approach behind the camera.
Alongside editorial and publication design, videography plays a central role in my practice. I use moving image not just to document, but to express lived experience—particularly those that are often unseen or misunderstood. Through framing, pacing, sound, and restraint, my films aim to communicate emotional truth and reveal beauty in mundanity.
Across mediums, my work is grounded in a balance of concept and craft. I strive to create thoughtful, socially aware outcomes that feel immersive, reflective, and human—work that doesn’t just look good, but connects meaningfully with people.
Identity
04/2024
Questioning Identity
The idea for this book began with a simple curiosity: how do people define identity?
It’s too vast a topic to fully explore in one project, but by asking a small group of individuals, I could begin to form a picture. Identity often dictates how we live—from the clothes we wear to how we speak. This makes it deeply personal and unique to everyone involved.
As an editorial project, I used experimental typography as a core
method to reflect each person’s identity.
By collecting responses through a Typeform questionnaire, I paired individuals’ answers with typefaces that visually represent them. The typography itself becomes the imagery—a canvas for these personal stories.
Typographic Profiling
Each participant has a typographic profile. For instance, Harmony, a
fine art student at CSM, was paired with the font Quarantype to match her
gritty, textured, punk-inspired work.
Her personal font of choice, Impact,
is rooted in bold internet culture and meme aesthetics. To complement this,
I paired it with Crédible, a dripping, graffiti-style font that contrasts
yet echoes her style.
Exploring Identity Through Responses
From Harmony’s answers:
“Without identity, you’re just a copycat.”
“My art is loud, even when I’m not.”
“Identity ebbs and flows, but the core remains.”
Her work—often dark, poetic, and reflective of social structures—embodies the duality of her introverted self and expressive art. These insights helped shape not only her chapter but the tone of the entire publication.
As Harmony put it:
“Without a solid identity,
you won’t be acknowledged. If you don’t even know yourself yet—why
should anyone believe in your identity when there’s nothing to
showcase? Without identity, I don’t think you are a true creative—just
a bit of a copycat.”
Cultural Context
Social media and memes also influenced the project. Many memes ironically
question identity, which reflects how digital culture affects self-perception. These cultural layers helped frame the visual language of the book.
Design & Production
The final cover design uses the typefaces linked to each participant, layered with textures and question marks to hint at the book’s introspective nature.
Printed on 150gsm off-white textured stock, the book was hand-bound using
perfect binding. I added muslin cloth for durability and used 300gsm stock
for the cover. The process was meticulous—layering glue, cutting
slits for flexibility, and compressing the books for two days before
trimming and finishing.