2015 Queensland College of Art Design graduate catalogue

DESIGN

QCA15

QUEENSLAND COLLEGE OF ART GRIFFITH UNIVERSITY 2015 DESIGN

04 FOREWORD BY DR PETER HALL

39 INTERIOR ENVIRONMENTS 40 Monique Cherwin

07

PRODUCT DESIGN

41 Wei-Chi Chi

08 Sarah Capon

42 Siu Wing Chow

09 Justin Cavanagh

43 Xiangfeng Gai

10 Jacqie Josey

44 Jaqueline Giebels

11 Karl Nilsson

45 Amy Graham

12 Nelson Vermeer

46 Yoojung Kim

15 VISUAL COMMUNICATION DESIGN 16 Zoë Appel 17 Jacqui Becker 18 Sasha Bernardes 19 Emelie Dahlsköld 20 Shanan Dallinger 21 Stephanie Dutta

47 Wai Kin Leung 48 Hailin Li 49 Matt Murphy 50 Genevieve Parry 51 Sean Peng 52 Marleen Sitchenko 53 Brianna Tsang

22 Chelsea Eaton

55 BACHELOR OF DESIGN WITH HONOURS

23 Mirika Guffin

56 Callum Burgess

24 Sasha Hickson 25 Hannah Ison

58 ACKNOWLEDGEMENTS

26 Lisa Koesterke

58 Design Staff and Support

27 Brianna Milne

59 Supporters

28 Chloe Parmenter

60 Credits

29 Erica Patrick 30 Hayden Roberts 31 Grace Stevenson 32 Ceara Swyripa 33 Jiahao Tan 34 Maria Urbina 35 Gabi Wild 36 Yuling Zeng

WHAT IS THE PURPOSE OF DESIGN EDUCATION?

What is the purpose of design education? This is not just a question that lurks behind queries made by anxious parents and prospective students at university open day events; it also serves to drive an inquiry into the history of design education. Do we learn design in order to master the technical and professional skills that make us ‘job-ready’ or do we learn design in order to transform the practice, challenge the status quo, and shape the future? Or is it a case of all of the above?

Throughout its history, design education has struggled to find a balance between imparting technical skills and ‘big picture’, critical, and conceptual thinking. The first applied arts programs of the nineteenth century in the UK sought to replicate an apprenticeship model of learning, but not to simply produce artists for industry. The political goals of the arts and crafts reformers were to tackle, head on, both the degraded quality of manufactured goods and the alienation of workers from their work by re-emphasising the qualities of materials, craftsmanship, and ownership of the products of their labours. A few decades later, at the German Bauhaus and Russian VKuTEMAS schools, technical skills were reimagined as part of a larger goal to invent a new language for the marriage of art and industry, and mechanised labour was reimagined as “unified collective work”, as Walter Gropius put it. This meant not producing “drones for industry” but reconceiving “the creative process of design as an indivisible whole”.1

4

The projects showcased in this year’s Design graduate catalogue demonstrate this endeavour to convey both technical and critical thinking skills, professionalism, and meta-professionalism. As we confront the environmental crisis and accompanying complex problems related to population growth, extreme weather, and species extinction, design is disentangling itself from a productivist ethos, and embracing more holistic, interdisciplinary, and design thinking–based approaches to responding to problems. For example, in the Fig Tree Island project developed in consultation with Brisbane City Council, students of Interior Environments and Visual Communication Design tackled the conceptual challenges of creating places of refuge and gathering in a traffic-congested central business district that will no doubt face flooding and overcrowding in the future. At the same time, sketches and renderings of street furniture, spatial concepts, typographic, and interface designs aspire to a level of professionalism that will help their authors secure gainful employment in the current industry.

Over the last couple of years, teaching in the Design department at Queensland College of Art (QCA), Griffith University, has shifted towards more explicitly embracing the idea that by engaging with complex problems provided by local government, non-profits, NGOs, and small businesses, it is possible to both flex and hone professional design skills while challenging the limitations of the profession as currently conceived. This is in line with the concept of “mimetic learning” introduced by Griffith Education professor Stephen Billett. Prior to industrial and institutionalised education, notes Billett, people learned occupational skills in the workplace. At the same time, it is inconceivable that the apprentice would not, in some way, remake the practice while learning it: “Remaking can comprise the mere rehearsal and remaking of what has gone on before, albeit in changing circumstances, or it can contribute to the transformation of what constitutes that occupational practice.”2 To support such a transformation, argues Billett, an educational program needs to prepare students for what they will confront in projects where the “real world” is engaged, as well as provide a forum for reflection after the engagement.

This, I think, is the purpose of a design education in the twenty-first century: to build skills through a unique combination of apprenticeship, academic research, constant prototyping (thinking through making), and then to challenge and question the limits of those skills—what was missed—through critical reflection. Hopefully, the work on display in these pages shows something of that process in action.

Dr Peter Hall Program Director Design

1 W alter Gropius, “The Viability of the Bauhaus Idea,” note dated 3 February 1922, in a circular to the Bauhaus Masters, in The Bauhaus, edited by Hans Wingler (Cambridge, MA, and London: The MIT Press 1978), 51.

2 S tephen Billett, Mimetic Learning at Work: Learning in the Circumstances of Practice (Cham, Switzerland: Springer, 2014), 13.

5

PRODUCT DESIGN

SARAH CAPON 8

PRODUCT DESIGN instagram.com/eyepicturedthis/ Bower Bird Brooch 2015 copper 9 x 3 x 1cm Illumine 2014 paper, LEDs, fabric 15 x 40 x 15cm Deer & Moonlight 2015 pen and paper, Photoshop 21 x 30cm

As indicated by the varying types of work shown, I enjoy designing in many areas of life. I’ve always been a creative person, having observed the world through drawing and photography from a young age. My fascination with product design appeared when I realised that I could combine my love for observing the world through art with problem solving to create useful and visually pleasing things.

JUSTIN CAVANAGH PRODUCT DESIGN Justin Cavanagh at Holloway 2015 photograph

I am a creative compulsive with an interest in natural design.

Reduce destruction—Prolong the existence of nature— Respect nature x

9

JACQIE JOSEY 10

PRODUCT DESIGN Turring Chair 2015 high density polyethylene (HDPE)

As a designer, I embrace the design process, giving time and attention to research before ideation out of the belief that it will produce an artefact or system that is considered and will realise an enhanced quality of life. My design process is informed by the principles of aesthetic simplicity, material sustainability, and functional durability.

KARL NILSSON PRODUCT DESIGN

The Lacer

@kn_design instagram.com/kn_design

A deconstruct-able shoe designed to be assembled by shoelaces.

The Lacer 2015 shoe

Goals: – Limit heavy material use – Make the upper washable and reusable – Offer a recyclable recyclable sole

11

NELSON VERMEER 12

PRODUCT DESIGN Figtree Island 2015 digital model

This site will be an area that will function as a traffic island and also as a place where people can enter and feel separated from the city. They can enjoy the fig trees (main feature) and an atmosphere that they know they create by virtue of being in the space.

13

VISUAL COMMUNICATION DESIGN

ZOĂ‹ APPEL 16

VISUAL COMMUNICATION DESIGN @hellozoeappel Design in Flux exhibition catalogue 2014 digital catalogue 20 x 24.5cm

I design where care, ethics, logic, and wellbeing converge.

Context and content inform my praxis, processed through this framework.

JACQUI BECKER VISUAL COMMUNICATION DESIGN Experimental Thinking / Design Practices: exhibition catalogue for the Griffith University Art Gallery 2015 two colour Pantone offset print 33.5 x 25.5cm Griffith University South Bank Campus: Open Day promotional material 2015 vinyl sticker 182 x 463.5cm

I’m a multidisciplinary designer—I work across graphic design, photography, and illustration, and my passion is branding. I believe design should engage the viewer in all senses and act with meaning beyond aesthetics.

In my work, I like to experiment with the postmodernist fine art themes of Dada, Surrealism, and kitsch as well as design that plays an active role in social and environmental responsibility.

17

SASHA BERNARDES 18

VISUAL COMMUNICATION DESIGN sashabernardes.wix.com/sashamariaa Favela Orgânica 2015 digital print 59.4 x 84.1cm Lumiére 2014 digital print

I believe in the power of great design. How it influences everyday life can change your view on the world.

EMELIE DAHLSKÖLD VISUAL COMMUNICATION DESIGN behance.net/emelie-dahlskold Queensland Multicultural Week brochure 2013 printed brochure 21 x 29.7cm Billie Goat Hill brand concept 2014 printed label

Since moving to Australia from Sweden four years ago, I’ve been exploring the wonders of design through various courses, freelancing, volunteering, and part-time employment in small design studios. I truly enjoy the ‘small things’ in life and find inspiration all over the place: in my music collection; during camping adventures; in a cup of coffee; or in the perfect gradient of a sunset.

19

SHANAN DALLINGER 20

VISUAL COMMUNICATION DESIGN shanan.co Waste Not, Want Not recycling campaign 2015 poster, booklet and e-book Prime brand identity 2014 style guide and brand collateral 2016 Visual & Creative Arts Guide cover design 2015 print

I’m a visual communicator, typographer, and photographer.

When I’m not pursuing any of these activities, I’m a Simpsons enthusiast.

STEPHANIE DUTTA VISUAL COMMUNICATION DESIGN stephaniedutta.com Rage RIOT billboard 2015 digital composite 600 x 300cm Logo Systems 2015 raster image

RIOT rum brand was created as a social commentary on alcohol-fueled violence. This was done by creating a product that skips the process of being drunk and instead fuels the consumer with the overwhelming need for violence.

RIOT is available in flavours of rage and revenge to suit the consumer’s varying degrees of uncontrollable hate, anger, and fury, and the bottle is designed to double as a weapon to assist the consumer in this rage.

21

CHELSEA EATON 22

VISUAL COMMUNICATION DESIGN chelseaeaton.com The Know-How Kit 2015 digital print dimensions variable

I am a visual communication designer who enjoys creating vibrant yet minimalist work. Throughout my degree, I have learnt how to embrace and respond to real design challenges, be critical, and create work with purpose. It’s very important to me that my work reflects a harmonious balance between successfully responding to a client’s brief and being socially responsible.

The featured works reflect my unreserved passion for design in education. This project is a collaboration with Paula Hardie, Hannah Ison and Bronte Wiltshire.

MIRIKA GUFFIN VISUAL COMMUNICATION DESIGN fb.com/akirimdesign Individual 2014 screen print ink on cotton t-shirt dimensions variable

In a world increasingly infiltrated with the forces of technology and consumerism, we face a multitude of problems threatening our future and human wellbeing. We have grown distant from our instinctual use of manual hand skills and the process, effort, and emotional connection involved with manual creation methods. As a designer, I believe in embracing the processes and methods of manual production and creating hand-made goods in a move towards a more sustainable future.

23

SASHA HICKSON 24

VISUAL COMMUNICATION DESIGN sashahickson.com The Food Waste Toolkit 2015 digital print Don’t Sweat It 2015 digital print Healthy Living branding 2015 digital

I’m a visual communicator, hand letterer, and typography lover.

I’ve always had a passion for the creative arts, and find peace in anything hands-on. Due to my inquisitive nature, I’m always working to improve my craft and expand my capabilities as a designer.

HANNAH ISON VISUAL COMMUNICATION DESIGN hannahison.com Mint Magazine 2013 print Hand Lettering 2014–15

I chose to include two pieces in this catalogue: the piece I had the most fun creating at QCA, and work that shows the skill I had the most fun developing over the last three years. In particular, I thought including a snapshot of my hand-lettering practice was appropriate because lettering is something that has really helped me relax and get through stressful times at QCA. To see more of my work, please visit my website.

25

LISA KOESTERKE 26

VISUAL COMMUNICATION DESIGN Fifth Iranian Film Festival Australia postcard design 2015 digital 10.5 x 14.8cm Social and Economic Repair with the Brixton Pound repair manual 2015 digital 42 x 59.4cm

I have always had a great passion for illustration. My selected two projects attempt to explore how the handdrawn can enhance and contribute to design as a transformative tool of communication, while also being compelling and expressive in its own right.

In the future, I aim to continue learning, to explore and experiment with new processes and to further pursue the incorporation of illustrations and the hand-made into my design practice.

BRIANNA MILNE VISUAL COMMUNICATION DESIGN brimilne.squarespace.com Mixup branding 2014 booklet and branding dimensions variable I Am 2015 publication booklet 14.8 x 21cm Desire 2014 typeface

Wild dreamer, explorer, and lover of all things creative.

Passionate graphic designer, web designer, and photographer. My work is inspired by the beauty and rawness of this world as well as the infliction of emotions.

27

CHLOE PARMENTER 28

VISUAL COMMUNICATION DESIGN cjparmsdesign.com Logos Designed in Liveworm Studio 2015

I am grateful for my time at QCA and the opportunity to be placed at Liveworm, where I discovered my natural artistic flair for logo design. Having spent over four hundred hours at the studio, I have gained a real life experience of working in a design studio. My success at Liveworm inspired me to start my own design business (Cjparms Design), specialising in branding. I will continue to develop meaningful logos and brand collateral for my clients.

ERICA PATRICK VISUAL COMMUNICATION DESIGN Interdisciplinary Studio door design 2015 vinyl wall graphic Haut branding 2015 brand style guide

As a visual communication designer, I aim to exceed expectations and deliver quality pieces of work. The nature of design is ever changing and constantly evolving; therefore, I approach a brief with this in mind.

I believe in challenging myself through design, not only with the outcome but also the entire process of development. I’m passionate about design as I enjoy collaborating with others and the opportunity to learn new skills.

29

HAYDEN ROBERTS 30

VISUAL COMMUNICATION DESIGN haydenroberts.net Naturist Critique 2015 print The Naked Manual 2015 print, saddle stitch booklet 21 x 14.8cm Tyalgum Music Festival 2015 2015 print

With a background in fine art, I have a passion for design that is artistic, provocative, kitsch, expressionist, lush, and delicious. What fascinates me most in the realm of redirective design is our unconscious decisions to self-harm.

I am also greatly interested in the external social controls and normalities that influence us not just psychologically, but emotionally and physically. In contrast, I believe environment and education are the most important social conventions to be redefined and redirected.

GRACE STEVENSON VISUAL COMMUNICATION DESIGN fb.com/halcyononon 100% Cassette Design 2015 print 10.16 x 10.4cm

Collaboration is a key part of the way I design. I believe in human-to-human relationships and respecting other people’s ideas, working together to best represent the artist through design. My goal is to capture their true essence.

100% is a creative endeavour of mine alongside two other female musicians. I was proud to design the artwork for our first physical release.

31

CEARA SWYRIPA 32

VISUAL COMMUNICATION DESIGN Animal Collection 2015 print 70.5 × 45.9cm Repair Manual 2015 app Monsters 2015 digital print 54.2 × 30.5cm

I am a passionate graphic designer who is enthusiastic about sustainability, environmental conservation, and designing in a way that considers the social, political, and environmental impacts of the project. Everything that is designed has an impact and I think that this impact should attempt to be a positive one. Having completed a Bachelor of Design Futures, I am highly motivated in creating sustainable futures through design thinking and a critical perspective.

JIAHAO TAN VISUAL COMMUNICATION DESIGN facebook.com/tea.eight.end Overgrown 2015 mixed media 22.5 x 22.5cm

My mind was a fog...

33

MARIA URBINA 34

VISUAL COMMUNICATION DESIGN Repair Manual 2015 printed document 21 x 21cm Visual Story Telling: Natural vs Artificial 2014 image manipulation 21 x 21cm

Visual communication has the potential to send powerful messages and convey ideas or concepts. With this in mind, I aim to create positive change using responsible design methods and try to reflect this in my work and daily life.

Keep it real.

GABI WILD VISUAL COMMUNICATION DESIGN Griffith University International Design School 2015 print The Incomplete Dinosaur 2015 print

I would really like to write something highly profound and intellectual about what it means to be a designer in the face of a world of ever-increasing complexity. How important it is to always be conscious and critical of what we bring into existence through design. Buttttt I’m going through a bit of an existential crisis right now, so please check back with me in a month or two‌

35

YULING ZENG 36

VISUAL COMMUNICATION DESIGN The Liter of Light repair manual 2015 digital design 14 x 14cm The Liter of Light guidelines 2015 digital design 42 x 29.7cm

The repair manual and the guidelines of The Liter of Light project are intended to be promoted in schools. Therefore, a colourful style and childish drawings try to attract young students’ attention. The manual of making a Solar Bottle Bulb promotes ideas that help people understand the importance of energy conservation and recycling plastic.

The repair manual and the guidelines were redesigned for a university assignment. This is not an official publication.

37

INTERIOR ENVIRONMENTS

MONIQUE CHERWIN 40

INTERIOR ENVIRONMENTS Fig Tree Island Model Eagle Street 2015 hand sketch and balsa model 15 x 22.5cm Fig Tree Island Model Eagle Street 2015 hand sketch and balsa model 12 x 22.5cm

This third-year interiors project furthered our understanding of the exterior, helping Brisbane City Council activate an under-used space called Fig Tree Island. Some issues included heritage-listed fig trees, traffic, and noise. The proposal aimed to create a space that was adaptable and accessible by all, implementing a pop-up cafe, movable and fixed seating, and wider pathways. Through understanding universal design, the space can be used and accessed by a wider audience.

WEI-CHI CHI INTERIOR ENVIRONMENTS Universal Fig Tree Island 2015 concept drawing

This project redesigns the Fig Tree Island located at 111 Eagle Street, Brisbane, mindful of the knowledge of universal design and inclusive design.

41

SIU WING CHOW 42

INTERIOR ENVIRONMENTS Fig Tree Island 2015 hand sketch Fig Tree Island 2105 hand sketch Fig Tree Island 2015 model

This project reactivates a pedestrian island in Eagle Street, Brisbane. The key element to revive the life of Fig Tree Island is to provide a meaningful, functional value that is not only visual. The concept is to create a public space for recreation and invite street performers to busk at the site.

I am an interior design student from Hong Kong. I believe that the built environment we live in shapes the way we are.

XIANGFENG GAI INTERIOR ENVIRONMENTS Organic Shoe Shop 2014 hand drawing 22.5 x 22.5cm Organic Shoe Shop 2014 hand drawing 22.5 x 22.5cm Organic Shoe Shop 2014 hand drawing 22.5 x 22.5cm

In this multi-functional and space-saving area, eco-friendly materials are used for shoe boxes.

43

JACQUELINE GIEBELS 44

INTERIOR ENVIRONMENTS The Lazy Loaf 2014 archiCAD 22.51 x 37.01cm The Lazy Loaf 2014 archiCAD 10.42 x 22.55cm The Lazy Loaf 2014 archiCAD 6.55 x 22.5cm

Art, colour, and design have always played major roles in my life and have influenced me from a young age. Over the past three years, this course has helped me to become more confident in my abilities and helped to develop my passion for all things design.

These are part of my concept and documentation package of a Bakery Design, which was completed for a Hospitality Design project in my second year.

AMY GRAHAM INTERIOR ENVIRONMENTS Re-Thinking Retail assignment 2014 copic markers 29.7 x 42cm Re-Thinking Retail assignment 2014 copic markers 21 x 29.7cm Re-Thinking Retail assignment – workshop 2014 recycled wood pallets 800 x 1000 x 1000cm

I am an upcoming interior designer who is driven to succeed in the professional world and has been aspiring to be a designer from a young age. I will be travelling at the beginning of 2016, allowing me to add different emotions and cultural values into my designs and highlight the diversity of my creativity and designing knowledge.

45

The main purpose of Interior design for AUG student agency is how to get a maximum effect with low cost. Therefore, most of the existing furniture is used for new interior design. The only new furniture is honeycomb structure. Honeycomb structure uses the geometry of a honeycomb to allow the minimization of the amount of used material to reach minimal weight and minimal material cost. This honeycomb structure is made out of varnished plywood, which is low cost material. This structure can be disassemble and reassemble with bolts and nuts. This honeycomb structure takes role of dividing space into few areas. Firstly, inside of honeycomb is office area where staffs are working on documents and consulting with students. In this office area has new pendant lights, which will give different mood from outside. Additionally, honeycomb structure is placed a bit off from the wall because, by doing so, it can prepare the damage of electric devices from the leaking water on the wall in rainy

COMPOSITE PLYWOOD

day. The electric cable will be dropped off from ceiling for new pendant lights and electric devices. Outside of honeycomb structure has two main areas. Left side of honeycomb (from the view point of entrance) is conference area where could have presentation in a conference day and it is where student could take rest in normal days. There is a graphic design sticker on the wall which represent a harmony with many different racial in AUG. On the right side of honeycomb structure, there is student lounge, which has a kitchen, computer laps, bulletin board and cozy sofas. In this area, students and staffs can take rest with cup of tea and student can use computers, which are provided for students. Furthermore, there is storage on the right side of honeycomb.

Storage cannot be seen from student lounge and storage can be only accessed from the office area so that it can hide some of untidy junks and it can place important documents safely.

-

YOOJUNG KIM 46

INTERIOR ENVIRONMENTS Fig Tree Square 2015 drawing 28.6 x 13.5cm Starbooks Cafe 2014 drawing 22.18 x 15.68cm AUG student agency 2015 computer rendering 42 x 29.7cm

Design is all about thinking.

WAI KIN LEUNG INTERIOR ENVIRONMENTS Universal Fig Tree Island 2015 concept drawing 22.5 x 22.5cm

Using Fig Tree Island, Brisbane, as the site, this concept drawing proposes, through design intervention and user practices, how to make a meaningful, inclusive public space in a complex city.

47

HAILIN LI 48

INTERIOR ENVIRONMENTS Sidewood Bar Design 2015 InDesign 496 x 702cm

This is the Sidewood Bar I designed for the Woodford Folk Festival. It is a high-quality wine bar with a romantic atmosphere.

MATT MURPHY INTERIOR ENVIRONMENTS behance.com/mminteriors Charleville Art Gallery 2014 digital 22.5 x 22.5cm

Through the duration of my degree, I have developed strengths that make my work unique. Further, my quick but methodical work ethic set me above others in my field. I would eventually like to progress to project management and teaching.

49

GENEVIEVE PARRY 50

INTERIOR ENVIRONMENTS Charleville Art Gallery concept model 2014 foam core, balsa wood, paper card 7 x 30 x 40cm Charleville Art Gallery concept model 2014 foam core, balsa wood, paper card 7 x 30 x 40cm

This is a 1:50 model of the Charleville Art Gallery concept that was developed as part of the LiveSpace professional practice program at QCA, Griffith University.

SEAN PENG INTERIOR ENVIRONMENTS Night View Perspective of New Fig Tree Island after Redesign 2015 rendering 21 x 29.7cm Joinery Installed in New Fig Tree Island 2015 rendering 10 x 15cm

These rendering drawings form the redesign of Fig Tree Island. One is the night view after we designed it, and another is the furniture I’ve designed to fit in the new space.

51

MARLEEN SITCHENKO 52

INTERIOR ENVIRONMENTS Desk Joinery Design 2014 archiCAD 1100 x 408 x 75cm Desk Joinery Design 2014 archiCAD 1100 x 408 x 75cm Desk Joinery Design 2014 archiCAD 1100 x 408 x 75cm

I am in my third year of the Bachelor of Design Futures with Honours, majoring in Interior Environments.

My current portfolio includes Revit and CAD work, concept designs and presentation boards, client work and use of Adobe suite, with a focus on interior design as well as some furniture design.

BRIANNA TSANG INTERIOR ENVIRONMENTS fb.com/bri.interior Melancholy Graffiti 2015 photography 96 x 96cm Mock-up Shop 2015 cardboard 96 x 96cm

Even though I am an interior design student, I am also interested in photography.

The first image is a picture that I took at the Brisbane Powerhouse. Graffiti is always colourful but I found black-and-white has a stronger visual effect and is more meaningful.

The second image is a mock-up model of a retail store that sells lollies. I think that placing a lolly tree in the centre can strongly represent the shop.

53

BACHELOR OF DESIGN WITH HONOURS

CALLUM BURGESS 56

BACHELOR OF DESIGN WITH HONOURS subel.co Subel 2015 website

Subel is the creative outcome of my Honours level research. It’s the result of utilising the Hasso Plattner model of Design Thinking in order to establish a startup business. Subel addresses the problem faced by students enrolled in creative degrees who work in parttime positions that have no relevance to their studies. It addresses this by enabling students to create their own online presence, selling and marketing their university work through a free online platform.

57

DESIGN STAFF AND SUPPORT 2015

DESIGN ACADEMIC STAFF Beck Davis Peter Hall Eleni Kalantidou Petra Perolini David Sargent Tristan Schultz Donald Welch David Sargent Jason Nelson DESIGN SESSIONAL LECTURERS AND TUTORS Felicity Walsh Melanie Gupta Naomi Hay Skye Smith Paul Bardini Tom Allen Callum Burgess Julian Munro Christine Moulder Lennah Kuskoff

Naomi Hay Mike Epworth Jenni Gillard Tom Allen Philip Bugden Rowan Lamont Luke Jaaniste Rob Arcidiacono Sara Pateraki Nicholas Brand Ash Guy Charlotte Kessler Emma Ross Helen Cummins James Brownlie Jason Grant Patrick Connaughton Paul Lalo Patrick Shirley Skye Smith Stephanie Bowker Sue Stone Todd Ryan Zoe Yakimoff

Rebecca Barnett Lani Weedon Robert Henderson

DESIGN SUPPORT STAFF

Rick Shearman

Chantel Schott

Leon Fitzpatrick

Rebecca Smith

Miriam Segalowitz Chenoa Pettrup

PROUDLY SUPPORTED BY

EXHIBITION

PUBLICATION

QCA Showcase 2015 26–29 November 2015

Designed at Liveworm Studio

Queensland College of Art Griffith University South Bank campus

OPENING NIGHT Thursday, 26 November 2015

Designer: Chelsea Eaton Creative Director: David Sargent Editor: Evie Franzidis Published by Queensland College of Art Griffith University ISBN 9781922216946