The title ‘Design(er) As…’, was instigated through a series of continually occurring conversations amongst graduating students. Various questions concerning authorship, exploration, navigation, and trajectory have become anchors that have grounded our understanding of the role of the designer.
‘Design(er) As…’ is an open ended statement exploring the expansiveness of our roles as much it is about navigating our way through society. Restrictions around the campus environment surrounding the physical exhibition space dictated by construction work meant that many of the works produced were done so within an altered space. This exhibition then, is as much about the navigation of a physical site, as it is about the navigation of the field of design. The exhibitions four motifs—the parentheses, ellipses, not defined glyph and hashtag, represent the tension between the expansive and infinite, yet concrete and abstract nature of our field.
The parenthesis act as an anchor, providing context for what is both within and without. In texts, the parenthesis always point to, support, and elaborate upon the thing it exists in relation to—much like the brackets within a text—the designer must respond to, elaborate upon, and contextualise the ideas and clients they respond to.
The not defined glyph quite literally represents a blank slate, an empty field, a character yet to be drawn, moulded or defined and is representative of the collaborative process of working with type designer, Robert Janes, to develop two typefaces for the exhibition.
The ellipsis which follows the title of the show acts as an instigator to the open ended statement. It points to the infinite and the abstract—a character that gives one a sense of agency as to what will follow.
Lastly, the hashtag is concerned with ways of defining and categorising work. Students have used multiple hashtags as a way to contextualise their work within the show. The hashtags speak to the double meaning of the exhibition title—‘Design As...’ and ‘Designer As...’
An identity design for 'Swamped: Future water scenarios for Elwood.' Focussing on Elwood as a case study, and then expanding to explore the Elster Creek catchment and the related terrains of the Victorian Southern Lowlands, Swamped is a multi-disciplinary exhibition that speculates on the impacts that climate change and rapid urbanisation may have on these types of environments, and the possible futures that can be imagined for them. As sea levels rise, and storm surges and drought threaten, Swamped asks: what will happen to Elwood?
Featuring urban design proposals for Elwood, studies of other similar wetlands, and interactive modelling, Swamped is an exhibition that ultimately asks us to rethink the way a city is conceived; defined not by traditional markers of politics or economics, but by the water that trickles through it.
In association with the Co-operative Research Centre for Water Sensitive Cities (CRCWSC).
The identity of the exhibition was centred around the typographic treatment of the word 'Swamped', that was realised through placing horizontal vinyl behind the slanted glass window of the gallery space. The promotional poster and invitation were created by screen printing on to bright orange water proof ponchos to emphasise the sense of urgency to take action as well as the certainty that Elwood will be protected through innovative architectural planning and design.
Other applications included, way finding, wall, window and floor decals, exhibition design, research posters and publication design.
In collaboration with Warren Taylor and Beaziyt Worcou.
Leading international art book publishers and local practitioners converge at the NGV for the annual Melbourne Art Book Fair (MABF), featuring publisher stalls, a talks program, book launches and performances and after-hours events.
Aiming to capture the iconic role of the NGV in Melbourne's culture, alongside the notion that ‘Print is Not Dead,' the identity for the MABF seeks to connect the forms and textures of the NGV building with that of the printing process. The outcome demonstrates that it is tangibility, that not only unites these two concepts but people as well.
The installation exhibition “Do Justice and Let the Sky Fall,” was created as an entry in to the International Society of Typographic Designers Awards 2016. It explores the notion of the malleability of memory through the eye witness account of Eileen Franklin, who in 1991 seemingly recovered memories of her father murdering her childhood friend twenty years prior (1969). This resulted in a highly contentious trial, spurring a media frenzy. After being imprisoned for five years her father was released on the basis of the research conducted by psychologist Elizabeth Loftus. Loftus proved that Eileen’s memories were in fact fabricated as a result of past experiences, conversations, traumas, rumours and the misinformation provided by newspaper and TV reports.
Referencing the phrase: “Memory does not operate like a video recording”, the exhibition involves an installation of eight large video screens that tell the story through animated typography. The screens also reference the idea of being surrounded and overwhelmed by the media, where the images and words presented to the viewer fill their entire scope of vision and create a sense of bombardment. The installation explores both the case of Eileen Franklin and her “recovered” memories as well as the controversial results of the psychological research that allowed for justice to eventually be served.
A contemporary interpretation of U.S. news publication Time Magazine. Attempting to appeal to a younger, less conservative audience, the content is specifically curated to spark interest from generation Y about global social and political current events.
Reflecting the ideas explored in the design of residential home The Kite , by Architecture Architecture, the perspex mobile and accompanying publication highlight the importance of light, shadows, materiality and the qualities of the silver birch tree that inspired the design of The Kite house. As a short listed finalist for the 2016 Victorian Architecture Awards, the house is representative of the personal and experimental approach to the creation of residential homes today.
The poem etched in to the perspex, Spring is like a perhaps hand, by E.E. Cummings is often referred to by Michael Roper and Nick James of Architecture Architecture, to find guidance and stay true to their vision.
An archive that chronicles photographs and film stills taken by my Father between 1985–2015. The archive includes memories and accounts by various family members and friends that together celebrate the life of a man “who had an astonishing capacity to find and appreciate beauty and to invest his time and effort to discover it, to capture it and to share it.”
A modular typeface that combines rigid lines with musical curves to create a sense of movement and rhythm. This intention is hinted at in the name Welle, meaning 'waves' in German.
A publication exploring Upcycling as a subculture. Utilising a cinder block in various forms to illustrate the potential in a seemingly single purpose object, the publication aims to encourage creative thinking for a 'less waste' lifestyle. Written content includes articles and interviews with the front runners of the upcycling movement.
Inspired by typographic cobblestone tiles in Lisbon, Portugal, Belem was designed with the intention to modernise the 12th century Western European script Blackletter. With high contrast features, Belem was originally designed for display purposes but was extended to include a text weight in order to allow a seamless display and text combination for publication use.
An Annual Report for Stonnington Plumbing Supplies, that draws on the forms of plumbing tools and materials to celebrate the plumbing trade as an art form and profession of specialised skill and expertise.
Features in the bi-monthly Monash student magazine Esperanto.
People You Don't Know Who Changed Your Uni Life Forever was created in collaboration with Tal Levin.
Identity redesign for a good cause. The Chapel Lifestyle Centre is an establishment that provides free health, well being and fitness programs to the public.
Cocolo is a premium Swiss chocolate company that use only organic and fairtrade ingredients. The redesign aims to promote ethical manufacturing as synonymous with luxury.
An animation of ‘visual music’ that was projected on to the facade of the Monash Art Design and Architecture Building.