Luke Macgregor Archive // Portfolio // London Based
Work In Progress
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Designer, Researcher, and Advocate for Neurodivergent Creativity
I’m a multidisciplinary designer with a
focus on inclusive editorial and publication design. My practice combines research, personal insight, and strong visual storytelling to explore complex topics—
often through the lens of neurodiversity.
With a particular interest in ADHD and how it shapes both creative output and process, I aim to design experiences that are as accessible as they are engaging.
My strengths lie in building narrative-driven stories using typography, photography, and film to structure attention, reduce cognitive overload, and enhance the reality. I’m drawn to overlooked details—whether in the rhythm of suburban environments or the textures of everyday life—and I enjoy transforming these into quiet, reflective design moments.
Alongside editorial design, I have a deep interest in photography and moving image as tools for storytelling. I use both still and moving visuals not only to document but to express lived §
experiences—particularly those often unseen or misunderstood.
My lens is frequently focused on the subtleties of daily life, aiming to reveal the beauty in mundanity and communicate emotional truths through framing, pacing, and atmosphere. This visual work complements my design practice, creating immersive and layered narratives that resonate on multiple
sensory levels.
Through a balance of concept and craft, I strive to create work that’s thoughtful, emotionally resonant, and socially aware—design that doesn’t just look good but connects meaningfully with people.
04/2024
Identity
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.