Brand identity and packaging design for Amber + Arkose—a brand bringing South Australian wine to a burgeoning Asian market. Reflecting the arid textural landscapes of the environment the grapes are grown in, each variety or vintage has it’s own unique treatment. The colour scheme follows a day on the vineyard as well as the advancing range; starting with muted morning light, progressing through intense afternoon sun and fading through fading evening light, to dark midnight. The brandmark contrasts a distinct heavy typeface with a naturalistic contour of an Arkose rock formation typical of the area.
A proposal for the rebrand of the Melbourne School of Classical Dance.
Dance is responsive, fluid, changeable and is defined by the movement of human bodies. As such, the identity responds in the same manner. The wordmark expands and contracts and spans the space it is housed in. The M in MSCD is divided into its four segments and forms a graphic device that mirrors the lines on a stave, visual documentation of choreography, extended limbs of a dancer, lines created by the moving body. The intersections of the M also reference joints of the body and when used graphically, interact with the dancers in imagery.
Each line represents a pillar of the business (Industry Classes, Children’s School, Pre-Professional Program and Adult School), which also adopt their own defining colour. Extended type forms reference the original logotype, and in turn the elegance of elongated limbs, directions taken on a stage. Colours are designed to intensify as the grade/age increases.
Publishing as Practice: A collaborative approach to design lead publishing—is the title of a semester-long research project undertaken during the capstone course of the Master of Communication Design. The resulting body of work consisted of multiple publishing experiments conducted under the NOTICE title. The publishing entity NOTICE was conceived to house the work created on a branded website as well as function as a point of departure for further publishing and design work .
Strategy, identity and rollout for restaurant Ti Ama in Hobart, Tasmania. Created in contrast and playful opposition to the current traditional and homogeneous dining offerings in the Salamanca precinct, Ti Ama brings a refreshed style of dining to the area. The Ti Ama brand embodies the personality traits of fun, flirty, comfortable & confident, just as the experience of the restaurant itself is intended. The brand takes inspiration from mid 70’s Italo‑disco ephemera such as record covers and posters, also borrowing punchy tag lines from the anthems of the time. The combination of bold typography, flirty colours and a contemporary design aesthetic make a brand that fosters strong recognition and communicates an effective brand narrative. Completed in collaboration with Lachlan Richards.
Branding proposal for Short Order—An artisan providore offering high-quality, healthy fresh food to time-poor customers in Newstead, Brisbane. Short Order is your other kitchen, your everyday goodness. The brand ruminates on the nostalgic and recognisable motif of the docket book, paired with a contemporary colour scheme and texture palette.
An industry brief that focused on the visual rebrand and strategy formulation for West Space, a Melbourne CBD gallery space. The existing brand needed to be refreshed and brought up to speed with the current graphic climate as well as a higher demand for online applications. My strategy and graphic solution centred around the importance of artist intervention, openness and fluidity. After an in depth study into the competitors, stakeholders and values to be communicated by the organisation, a graphic system was produced with various applications. These scope of these applications include; Web, print, wayfinding and signage. Some design components include—Guerilla RISO printed posters, business cards, vinyl wayfinding, digital propositions and letterheads.
Image as Language as Image was an exhibition curated by Master of Communication Design students. Crowdsourced content formed the body of the show, highlighting the interplay between text and image. The show was concerned with the broadening of language and communication, and the proliferation and evolution of visual literacy. Image as Language as Image aimed to explore the dichotomy that arises between text and image. The project explored the concept of an ‘interpretive spectrum’, while also providing reflections on the limits of representation. The show intended to encourage discussion around the practices, literacies and disparities of reading and viewing. Visit the site here.
A partially realised proposal for brand mark, typographic approach and various collateral for the occasion of Flinders Lane Art in Review—a Melbourne art event that occurred in August of 2016. The event showcased a series of curated exhibitions, talks and experiences in Flinders Lane. This project was undertaken for Print Ideas.
Picturing Syllable contains a series of typographic propositions which repurposes literary content to challenge classical representations of prose. This publication aimed to explore conventional representations of poetic prose and how experimental uses of typography can affect it. Can typography assist in assigning meaning to text, or adding emotion? And if so, what is the potential of ‘text as image’ as a medium to communicate? Certain words and images can resonate differently with different people, this idea of an ‘interpretive spectrum’ is recurring in this publication and is important to consider because of the subjective nature of the topic. Each designer in this publication was asked to respond to a provocative enquiry and apply typographic propositions to a piece of poetic prose, blurring the space between reading and seeing. Content was sourced from Syllable, which was independently published by Ted Hopkins from Champion Books/Backyard Press in Melbourne in the 1980's.
I have worked as a designer at Art Guide Australia since 2015. The focus of my work in this time has been the full redesign of the print magazine, full redesign of the iPad magazine and various general graphic and digital design outcomes. The print redesign for the occasion of the 101st issue of the magazine intended to pare back page composition to take advantage of the generous new size and beautiful lay flat properties of the publication. Like the walls of a gallery—the layouts present a sparse surrounding, allowing the artwork to command the composition. I also put a large emphasis on the forms of the typography, to be without adornment or complex presentation. Clarity, flow and overall feel of the publication were revised—bringing forth new subtleties in design.
This brand mark and resulting systematic application proposal was undertaken for Print Ideas—a Melbourne based business offering a range of design services. The mark focuses on the value proposition implied by the name and championed by the business itself; ideas. These light bulb moments are captured in the tittle, the circular dot present above the letter i, and their tendency to move around signals both spontaneity and flexibility. The reduced mark still echoes these messages with the formation of a face-like appearance.
A collection of communication design criticism that aims to explore and expound the various roles designers can occupy as practitioners and intellectuals. Ranging from 'Challenger of Social Constructs' to 'Shaper of Collective Cultural Memory,' designers may function and succeed in a multiplicity of roles. The works contained within this anthology were selected because of, and all embodyan exploration of 'designer as' a variety of roles.
The Show Ponies studio focused on planning, coordinating and executing the end of year graduate exhibition for Communication Design at RMIT in 2013. The concept for the exhibition was the comparison and contrast of the perception of graduates by industry and peers, as mature or immature. This playful juxtaposition is expressed in the branding symbols which reflect upon the many possible ‘faces’, personifying old and young, female and male or indeed mature or immature.
An official graduate catalogue was also produced by a small team of Show Ponies students, along with a selection of Masters of Communication Design students. The catalogue was designed and sent off to press within 48 hours, in an accelerated intensive workshop approach.
A poster and GIF exhibited in the Masters of Communication Design graduate show exploring ideas surrounding design as a commodity. In a world where the value of design is being systematically undermined, undervalued and overlooked, how may we regain and redefine worth as practitioners and members of the global design community? I make a proposition through my poster for an alternative currency championed by the ‘D’ character, denoting Designer Dollars. This fictitious alternative currency may not remedy patterns of subversion, but it may create a dialogue as to what design is really worth.
An industry brief that focused on the visual rebrand and strategy formulation for The Meat Market, a heritage site in North Melbourne. Inspired by the unique architecture, this mark epitomises the space and personality exuded by the Meat Market. The emission of any colour in the brand marks is purposeful, and the expression of brand identity is to come from the vibrancy and texture of photographs, as the space itself really is the hero. The style is modern, gritty, architectural and dynamic.
As well as working on the concept and branding of the exhibition, I worked in a small group of three to develop the content and design for the I’mmature zines. The pages consisted of a mix of student finals, workings and sketches, incorporating the I’mmature branding, laser printed repeatedly and randomly throughout. The zines were then assembled within a guided, live and interactive workshop by guests on opening night.
A photographic journal of a trip to Paris in the high Summer of 2013. Comprises candid street photography, often taken from the hip. An unfiltered yet tender representation of the city from an amateur's perspective.