Hi, I’m Lorraine, a Paris-based graphic designer. I’m drawn to publishing, installation,
printing, writing, and experimental digital experiences. I specialize in risograph printing and focus on
knowledge sharing through workshops, developing tools and facilitating collaborative practices.
⋆ ˚｡⋆˚ 𖦹 open to creative collaborations 𖦹 ˚⋆｡˚ ⋆
A Laundry’s Unfolded History
2025-2026. Diploma project.
This publication stems from a research project based on the archives of the Doisu district in Chaville, a former neighborhood of laundry workers. Drawing on photographs, historical documents, and my own family archives, it explores a territory where domestic and professional life were deeply intertwined, as houses served simultaneously as homes and workplaces. Bringing to light forgotten skills and an often-overlooked female working-class heritage, the publication sits at the intersection of family and local history. I also reflect on working conditions, the central role of women in this profession, and our relationship to laundry, hygiene, and everyday gestures. The publication accompanies an exhibition of these archives, extended by an augmented reality installation that reveals the gestures and presence of the women whose labor remains largely absent from the historical record.
Anthology
of images
2025. Academic research. Edition.
This thesis examines the role of graphic designers in mediating image collections. In this context, graphic designers compose visuals from pre-existing elements. From collecting images to designing the medium and narrative, they must take into account the duality of collections: between the individuality of images and the construction of a narrative. Their work thus oscillates between preservation and creation. To what extent do graphic designers' interventions develop the meaning(s) of an image collection?
Le tracé parfait d'une tige dans l'air
2026. Novel.
Publication designed for the writer Garance Kernen’s debut book, The Perfect Path of a Stem Through the Air. Blending fiction and poetry, the narrative follows a protagonist who chooses not to get off the train and instead observes the world through the conversations of fellow passengers. The cover was conceived as a landscape glimpsed through the window of a moving train. Created in watercolor and printed in risograph, it reflects the text’s contemplative and drifting atmosphere.
The apocalypse seemed different
2026. Creative coding.
The Le Point du Jour art centre in Cherbourg gave us free rein to explore our relationship with the sea. We created a visual interpretation of a poem by Ninon Gobled, a creative writing student in Le Havre. Inspired by maps of ocean currents – which evoke the distances explored by the poet in her writing – we created a video using creative coding to reveal the poem’s verses with each wave. The five-minute video was screened in a room at Le Point du Jour, alongside works by other students.
Ravage
2024. Edition.
This reissue of Ravage by René Barjavel aims to present the story in a new way to serve an original concept. Inspired by travel journals and archives from a bygone era, it offers a contemporary perspective by highlighting the utopias and realities of the 1940s that the book denounces. Designed in the spirit of Arte Povera, I used scans of my own edition to create a modest layout, emphasizing the materiality of the original book. The grayscale palette of the three editions is occasionally enhanced with orange-toned photographs, evoking the destructive fire described in the story.
1437 : Risograph Printing Laboratory
2026. Workshop.
In February 2026, I designed and led an introductory risograph printing workshop at the ÉSADHaR in Le Havre. Following an introduction to the machine and the principles of risograph printing, participants created images directly on the scanner glass using objects and image collages brought by the group. These compositions were then printed using the risograph process. The resulting prints were placed in a shared pile and reused by subsequent participants, who created new, chance-based overlays and combinations. This collective process explored the many possibilities of risograph printing, including gradients, color mixing, transparency effects, and the emergence of unexpected new images. Each participant left with a self-published edition produced during the workshop.
STEP : Summer Camp 2026 «Resilient city»
2026. Communication.
As part of the European STEP program, hosted in Le Havre in 2026, ÉSADHaR organized a Summer Camp bringing together students and teachers from several European art schools. Alongside Camille Redinger and Vincent Bertin, I was commissioned to design the event’s poster and flyer based on the work of artist Charlotte Huard, whose project consisted of casts of the hands of Le Havre residents. Printed in risograph, these communication materials were distributed to the participants throughout the program.
La Quinte du loup et le beau tox
2026. Communication & Exhibition.
As part of the European STEP program, hosted in Le Havre in 2026, ÉSADHaR organized a Summer Camp bringing together students and teachers from several European art schools. Alongside Camille Redinger and Vincent Bertin, I was commissioned to design the event’s poster and flyer based on the work of artist Charlotte Huard, whose project consisted of casts of the hands of Le Havre residents. Printed in risograph, these communication materials were distributed to the participants throughout the program.
L'Enfant & les Sortilèges
2024. Opera Set.
The opera L’Enfant et les Sortilèges by Colette and Ravel, directed by Vincent Vittoz at the Conservatoire of Boulogne-Billancourt, offers a fresh take on the story. Set in a contemporary school environment, the child endures mistreatment from both teachers and classmates. To enrich the stage performance, we created animations and projected visuals inspired by Colette’s universe, giving form to the Child’s inner thoughts. These digital projections, synchronized with the orchestra and filling the stage as animated sets, were performed live by our team. I created three sequences, each with a distinct visual world, to illustrate the ending of the show.
The Brigade
2024. Lettering stamps.
A personal experiment with typography, aiming to create a series of stamps that allow for the composition of posters. Made using a laser cutter, these stamps were designed to offer modularity and freedom in typographic arrangement. On my side, I created a series of typographic posters based on culinary expressions related to love. Each poster illustrates an expression, forming an experimental collection that evokes the world of a kitchen brigade, where words simmer, are cut, and assembled like the ingredients of a graphic recipe.
Madfest
2024. Typographic design posters.
This fictional music festival served as a playground for typographic experimentation through the creation and public display of a series of posters in the streets of Boulogne-Billancourt. Robin Abreux, graphic designer and typographer, led this two-day workshop dedicated to exploring lettering on poster formats. By working with various mediums such as scratch cards, clay, paint, and markers, we experimented with different approaches, combining spontaneity with stencil-based design. The posters were then displayed in public spaces.
Olympic Pictogram Workshop
2024. Edition.
For the Paris 2024 Olympics, I designed an educational workshop for children focused on creating sports pictograms. Each pictogram was designed to be cut with scissors from shapes that easily fit together, recognizable by their distinct colors. The design of the edition was specially thought out for child-friendly handling, ensuring safety while promoting autonomy through spiral binding. Detachable colored sheets are integrated, allowing the workshop to be both fun and interactive, with no additional materials required.
