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Clément Le Tulle-Neyret 65
A well traveled and
experienced young
designer hailing from
Lyon, France. He started
to study graphic design
very early on—he was
only fifteen years old.
Years later he attended
the École Nationale des
Beaux Arts de Lyon,
where he graduated
in graphic design. He
then went on to gain
international work
experience at renowned
studios like Value and
Service in London,
Mucho in Barcelona,
Loran Stosskopf in Paris,
finally going back to his
own town and working
for Trafik. He frequently
uses typographic
illustrations in his work,
and does it with extreme
heterogeneity of forms.
During six months he
carried on a fruitful
collaboration with fellow
designer Emmanuel
Colomb leading them to
be exhibited at the St.
Étienne Design Biennal
in 2008, Chop-Suey,
Contacts, and What You
See Is What You Get at
Le Stand in Lyon.
Clément Le Tulle-Neyret
www.printedmatter.fr
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66 Clément Le Tulle-Neyret
151 Look around you.
152 Put yourself in everything you do.
153 Don’t be shy.
154 Be honest.
155 Do only things you really want to do.
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Clément Le Tulle-Neyret 67
156 Never be too serious.
157 Be rigorous and practical.
158 Only work with strong rules.
159 Always follow rules.
160
No half-measures.
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161
F
IND INSPIRATION ELSEWHERE. Graphic
design does not exist in a bubble!
Log-out of your computer and forget
about client work, accounting, and
studio management for a day. Buy
tickets to the symphony, experience
a live jazz performance, attend a
fashion show, go skydiving, start a
martial arts class. Add some spice
to your life, in turn, your work will
embody this sense of adventure.
162 ILLUSTRATOR PLAYGROUND. An
exercise that I fi nd very helpful is to
constantly keep an Adobe Illustrator
fi le with vector elements, typefaces
in progress, and experimentations. A
digital fi le in which composition does not
matter. What is useful about this ongoing
process fi le is that you begin to see
your visual language develop. This also
enables you to quickly add and further
develop design assets into projects.
163 M
ARK YOUR TERRITORY. Surround
your work-space with images, cut-outs,
process work, and materials that inspire
you. Your studio is your sanctuary; this
exercise should grow organically. I
constantly update, paste, and write over
materials that are on my studio wall.
164 R
ELEVANCE. Know what’s out
there. I keep an inspiration folder on my
computer that I constantly update with
images that I fi nd on the net. There are
numerous image bookmarking websites
in existence that I pull images from on a
daily basis. The objective of this exercise
is to expand your exposure to visual
culture in an international context.
165 S
KETCH OVER. Buy a magazine of
your interest and use it as a sketchbook.
It is important to choose a magazine
with content that you enjoy. The purpose
of this exercise is to create a dialogue
with the text of the magazine. Sketch
over images, cross-out text, highlight
text, collage...there are endless
possibilities!
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166 CROSS-POLLINATION. Collaborate
on a project with a colleague, a friend,
or a contemporary. Do not limit yourself
to people in your discipline! Collaborating
with others has always proved to be
an invaluable experience for me. This
dynamic interplay will force you to remove
yourself from your comfort zone and will
expose you to different modes of thinking.
167 V
ISUAL ESSAYS. These can take
the form of installations, posters, motion
graphics, etc. This exercise is a mainstay
of my creative process. Personally, my
preference lies in posters and I usually
do three to fi ve posters as a series. As
with many of my previous exercises; do
not limit yourself, there are no rules
or boundaries! This is not client work,
think of it as personal development. This
exercise will further develop a visual
language unique to you. If approached
with an open mind, the experience can
be rewarding.
168 M
ATERIALITY/RE-APPROPRIATION.
Find inspiration and creative departure
points through the exploration of
different materials. I take regular trips
to specialty paper vendors and textile
stores in an attempt to fi nd materials
that can be incorporated into my work.
By re-appropriating the inherent context
of the materials, another dimension is
added to my projects
169 D
ESIGN A TYPEFACE. The
development of a personal typeface
(digital, hand-drawn, or with found
objects) will greatly improve your
technical and creative sensibilities. This
action will also aid in the development of
your personal visual language; you will
also gain a greater respect for an art
form that is largely taken for granted.
170 DEPARTURE POINT AND
INTERTEXTUALITY. This exercise will force
you to delve into the depths of other
academic disciplines such as philosophy,
critical theory, media studies, etc. This
exercise begins with a preliminary
passage of inquisition. The library and
Internet are wonderful resources;
research a disciplinary track that you
have an affi nity for. If you are serious
about your studies; you will soon fi nd an
author who’s voice ignites your passion.
Find a text that is relevant to your
personal value system. The manifestation
of this exercise can take any form, such
as a motion graphics piece, a sculpture...
use your imagination! Hopefully this
exercise will be the starting point for
further investigation into the subject
matter at hand and will spawn a
comprehensive body of work. Never
defi ne the fi nal product at the onset. This
is a challenging exercise that will lead
you into different directions. Allow your
mind to wonder.
Loosely, this was the process used to
create the context for a project called:
The Book of O
, a hand-made lookbook
exploring Pauline Réage’s text
The
Story of O
The departure point was a
study into tattoo art. Through reviewing
the works of critical theorists such as
Roland Barthes and T.S. Elliot I was
thrown into directions I never thought
possible. I soon began studying the
writings of Adolf Loos and Geoffrey Galt
Harpham, among others. The ideologies
of these authors became intertwined
in my own personal philosophy. Their
voices are now part of my work through
fi liation—it is inescapable, their voices
are inseparable from my own!
The
Book of O
embodies this intertextual
experience.
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