David’s standing in the design community is reflected in his membership of Alliance Graphique Internationale.

His work has been recognised with many awards and has appeared in numerous Australian and international graphic design publications. With more than 35 years in the design industry, David’s experience encompasses a wide range of design disciplines. 

Originally from the United Kingdom, David studied fine arts there before settling in Australia. After working in advertising and design he set up his own practice in 1976.

A lifelong member and former Victorian President of the Australian Graphic Design Association and president of the Melbourne Art Directors Club, David has served as a judge on many award committees and was a member of the Advisory Committee at the RMIT Photography Department, the Stamp Advisory Board of Australia Post, and the Graphic Design Advisory Committee for Phillip Institute of Technology which became RMIT.

David has built an enviable reputation designing everything from a postage stamp to three dimensional exhibition spaces, but it is his work in the area of interpretative design that has been awarded and praised by his peers. His vast experience in the interpretation of environmental, cultural and natural values and especially his collaboration with Indigenous cultures that has resulted in world class visitor centres in remote parts of Australia.

David’s experience in this area derives from his own extraordinary interest in forms of cultural diversity and capacity for understanding the natural environment. He has worked on large projects in Australia and Asia. He has a quite unique ability to use these experiences in very practical ways in his work. What many designers see as challenges to be met, or obstacles to overcome, David Lancashire takes as unique opportunities for fresh and innovative design.

David has recently stepped down from a two-year position on the Board of Icograda (International Council of Graphic Design Association), during which he worked on developing two projects — Indigo and establish Mothertongue. 


Di’s academic background is in both anthropology and the visual arts. Her role varies according to the nature of the project.

On many projects, such as the North West Shelf Visitor Centre for Woodside Petroleum, she managed the research and its development into the interpretive journey, in addition to budget management.

On several occasions she has written the final exhibition text, and on projects involving Indigenous communities she has undertaken long periods of fieldwork. These include the Warradjan Cultural centre in Kakadu N.P., Karijini N. P. Visitor Centre in the Pilbara, and Bunjilaka at the Melbourne Museum.

On a number of more recent, large projects, including the Tidbinbilla Nature Reserve in A.C.T., the Marine Precinct at Melbourne Zoo and Makers Workshop Burnie, she has coordinated the research team and designed the interpretive approach.



Stephanie has a First Class Honours degree in Communication Design from Swinburne University, having graduated in 2008. Stephanie worked for DLD throughout 2007 as an Industry Placement student and has been at the studio since. 

During her time at DLD Stephanie has worked on and project managed a broad range of projects including publications, packaging and signage. Some clients Stephanie has worked with include McClelland Gallery+ Sculpture Park, K.W.Doggett Fine Paper, Ocean Spray, Hobson’s Bay City Council, Troppo Architects, Royal Melbourne Hospital and Parks Victoria. 

Stephanie has also been involved throughout the design process for a number of key exhibition and interpretation projects including Wild Sea at Melbourne Zoo, A Day In Pompeii at Melbourne Museum and the Giant Pacific Octopus exhibit at Melbourne Aquarium. She is currently working with 
Taylor Cullity Lethlean landscape designers on the Wetlands project at Adelaide Botanic Garden.