Parisian graphic designers Carole Gautier and Eugénie Favre met as art school classmates, but it was their first collaborative project — a typeface design loosely inspired by Dear Wendy, a 2005 film written by Lars von Trier — that became the basis of their shared studio practice, My Name is Wendy.

Over the past 15 years, the duo have produced a wide range of work spanning art direction, branding, motion graphics, illustration, typography, and more. Despite working on large projects for clients including Coca-Cola, Nike, and Wired, they have intentionally kept the size of their studio lean, preferring the collaborative intimacy of their creative tête-à-tête.

For this year’s Adobe Audition splash page, Gautier and Favre created a vibrant, eye-popping illustration evocative of a loud horn speaker to represent the audio and recording editing software that’s used by video makers, podcasters, and sound effect designers. Here, we speak with the My Name is Wendy cofounders about their shared creative process — and why making graphics in the mode of “Plastic Art” speaks to them most.

What led each of you to pursue creative careers, and how did My Name is Wendy first begin?

Gautier: I have a degree in typeface design obtained in Grenoble, France. I have another one in graphic design and communication from Lyon, France, then I got an education degree in graphic design from the Fine Arts School of Valence.

Favre: And I have a high school diploma in literature and fine arts. I studied at the Fine Arts School for five years in Valence, France, and I obtained my degree in art in 2001. We met in Valence during our first year of study, and afterwards, we received training in desktop publishing and web design. My Name is Wendy was born in 2006 from our collaboration — Wendy was the name of our first typeface.

How would you describe the aesthetic and approach of creating graphics in the manner of "Plastic Art”? What excites you most about this style?

Favre: The association of two expertises — graphic design and art — allows us to work differently, taking into account several aspects: communication, functionality, and aesthetics. When we say “Plastic Art,” we think of the material side of creation and the virtual presence of graphic elements.

Gautier: We always try to create images with a strong visual effect that reflects multiple levels of reading.

What inspired your artwork for this year’s Adobe Audition splash page?

Favre: The final splash page image evokes a sort of musical instrument, a sound amplifier, an acoustic device, or a chamber.

Gautier: This image was originally part of a larger project series, and each image staged 3D objects with ill-defined functionalities that evolve in a particular atmosphere. These objects are both industrial and sensual.


How has your practice evolved since founding your studio in 2006? Is there a reason why you’ve chosen to keep the studio small over the years?

Favre: We are a team of two people. And we do not want to expand the team because we want to preserve our flexibility around our work process.

Gautier: Our collaboration is exclusive, and it is built on a perfect knowledge of our mutual strengths. We share the same work ethic and the same vision for the future of My Name is Wendy.

Tell us about your collaborative creative process. What inspires you, and how do you go about developing a project?

Favre: We always work together on each project. There is also an important research process — we do lots of sketches and various creative tests, and in the end, we select the best ideas together. We never show the process to the client unless it’s requested.

Gautier: Often, we are engaged in a process of simplification in order to be more efficient. We always present our ideas with explanations. We work with people who believe that a project is made out of a dialogue between two fields of expertise. Each commission is a real collaboration, an exchange based on confidence.

Favre: We take inspiration from all creative fields: graphic, art, fashion, street art, architecture, cinema, literature and daily life. In fact, the most difficult aspect is to remain accessible and open to what can nourish us.

“Ideas reflect humanity, and without them, there is no creation.”

How do you feel graphic design, more broadly as a profession, has since changed in that time period?

Favre: There have been two stages of evolution within our studio: In 2010, we began to focus our work on type design in graphical compositions or illustrations. Many of our projects are based on typography and lettering. The combination of typefaces and visuals are very important for us. In the past six months, we’ve learned to create images in 3D, in order to mix 2D and motion design in our work.

Gautier: Graphic design has become more digital and “dematerialized.” We do less printed projects for clients these days; it is a shame, but there it is. The profession evolves quickly. Ten years ago, we were going to the printer in order to finalize projects. Now, we send our creations digitally, halfway around the world. Because designing no longer depends on physical criteria, we can push the creative limits. However, the one thing that cannot change is the importance of ideas — ideas reflect humanity, and without them, there is no creation.

What other projects are you working on at the moment? And as so many of us continue to work remotely these days, how do you stay motivated?
 

Gautier: We are currently training in 3D design and motion design, and we are working to set up our online shop where we will sell our posters in limited editions, as well as some typefaces signed by the studio.

Favre: In this particular moment, we find ourselves needing a few particular things: focus, creating, the ability to think differently, and happiness.


Any tips or advice for emerging designers and illustrators on how to approach creativity across mediums?

Favre: It really depends on the personality of the designer or illustrator. There are some creators that develop a unique style with specific creative tools, while others develop an artistic expression using different means and mediums. Creatives are all different, each with their unique goals and visions. The only advice we can give is to follow your own intuition, to be yourself, and to get to work.