Young Designers of Australia 04 Digital Art / 3D Rendering / Logo Design / Typography / Brand & Identity / Publication Design / Photography / Art
Cover Joshua Tavener
Created in Naarm / Melbourne
March 20221
Young Designers of Australia Magazine Free March 2022 Volume 04 Typeset in Moret, Futura PT, Acumin Pro. Created and Designed by Katerina Hionis Instagram: @designbykh Website: designbykh.com Editing and Proofreading by Daniela Abriola Cover Project by Joshua Tavener All contributing artists are credited from pages 192–193. Young Designers of Australia is published on ydamagazine.com and issuu.com and is free for online reading. YDA acknowledges the land in which the magazine is produced on, being the traditional lands of the Wurundjeri people of the Kulin nation. We pay our respects to Elders both past, present and future. Australia always was and always will be aboriginal land.
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Welcome The past couple of years have been tough for many of us; we have been through so much: lockdowns and isolation definitely being the hardest. Our hopes for Volume 04 is that this edition can inspire all of you to be experimental, passionate and creative with your projects this year. Something that has become immensely important to me is the mental health of myself and those closest to me. Overwhelming personal struggles, never–ending lockdowns and random earthquakes summarise the erratic and unstable nature of my 2021—so here’s to hoping for a year filled with happiness and long–lasting memories with our loved ones. And as a reminder for you and me: call the friend that you’ve been meaning to catch up with for a while. Check on the friend that has a lot on their plate. Go out for lunch with your mum. Check–in with yourself. Make time for the things you love and enjoy. With a little more love and happiness, hopefully, we can all make this year one to remember(:
Katerina Hionis Creator and Designer
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Contents Digital Art 8 3D Rendering 30 Logo Design 44 Typography 50 Brand & Identity 58
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Publication Design 96 Photography 158 Art 168 Contributors 192
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Everything is
your life, yo Christian Leave — Your Life Your Time (altered)
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our time.
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Digita
Ashley Lavoynne Silaen Joshua T Katie Zhou Ruiying Zeng 8
al Art
Tavener 9
Ashley Lavoynne Silaen At Rest
2020 | Monash University
These works seek to explore the relations between sleep and death, particularly how they mirror each other. Created during the early stages of the pandemic—while living alone—I was inspired by the amount of time I indulged in rest, experiencing
loss beyond the safety of my apartment. The individual digital drawings were formed into multiple, overlapping compositions, each creating a different narrative.
AT REST
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DIGITAL ART
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AT REST
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DIGITAL ART
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AT REST
Contact Instagram @ashleylavoynne @lavoynn.e Website lavoynne.com
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Joshua Tavener ICONS ONLY
2021 | Billy Blue School of Design
I wanted to shine a light on the beautiful women of techno who inspire me; Peggy Gou, Honey Dijon and Nina Kraviz. I used found textures from the streets and painted over them in a painterly style using photoshop. As a painter, I am drawn to mark-making, texture and tone.
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DIGITAL ART
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DIGITAL ART
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ICONS ONLY
Contact Instagram @joshtavhenny
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Meet the Designer — Isabella M. Who is Isabella? I am a Melbourne based multidisciplinary designer, illustrator and maker. I work full–time as a Marketing Designer for Hinkler Publishing. In addition to this, I run my very own freelance design practice and e–commerce store, ‘Isabella Zoe Designs.’
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How would you describe your creative visual style? As a creative, I often find myself uncovering the fine line between playfulness and proficiency. Designing for all ages, my work captures a sense of my individuality and imagination. I love all things bright, bold and cheerful, such qualities are often portrayed in my practice. What are your favourite areas of art and design? I have a passion for illustration and publication design with a key interest in children’s book design. I am constantly exposing myself to new areas of design, both current and past. Recently, I am finding myself immersed in the world of the great
Alan Fletcher and the wonderful Beci Orpin. These are two creatives that I will forever look up to and be inspired by. What has been your favourite project to work on and why? Fifi and Angus; my child–orientated story and activity series is my favourite passion project. This was inspired through my Capstone subject in my third year of university. The series encompasses all aspects of education with a focus on culture, language and travel.
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What have you found the most challenging about being a creative? Have you been able to overcome these challenges? I think all creatives can agree that there is a level of expectation in which we create within ourselves to be the next best thing, for our work to constantly be at a standard that many creatives have worked on and perfected over several years. I, personally, have struggled with this unfair and discouraging expectation, finding myself in a creative spiral if such idealised designs and expectations were not reached within my work. I was able to overcome these challenges with practice, patience and experimentation! Trust that you have the time and ability to learn, grow and adapt your skills into
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beautiful works of art. Keep pushing and working for what you believe in, and know that if you want something bad enough, it will always come true with hard work and confidence. Do you have any advice for aspiring creatives? Keep going and keep trying! The world is full of creative individuals, look up to them as inspiration and not threats. There is room for everyone, no matter their skill level! Take every single opportunity that comes your way in this field as you never know where it may lead you.
Contact Isabella Instagram: @isabellazoedesigns Email: isabellazoedesigns@gmail.com
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Katie Zhou 2022 Floral Calendar 2021 | RMIT University
2022 monthly floral themed calendar, featuring 12 digital illustrations of vibrant and playful flowers to brighten up homes and hearts. This calendar was born during lockdown, where Katie would relieve
her boredom by sketching away to create these colourful illustrations. She was able to sell these on her Etsy at the end of 2021, so these calendars now live in a variety of people’s homes!
2022 FLORAL CALENDAR
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DIGITAL ART
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2022 FLORAL CALENDAR
Contact Instagram @katiezhoudesign
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Ruiying Zeng Moved
2021 | RMIT University
The narrative of the posters questions the very nature of our creative mind and explores the transition and movements of psychological perceptions towards what is meaningful or meaningless, the qualities of belief and experience, as well as the notion of absurdity. It is a journey of discovery of inner chaotic self, moving, discovering, embracing and accepting individual absurdity. Selected Work Prize (Series) at the JAGDA Poster Award 2021 — Theme: ‘Move.’ The series was exhibited in the National Art Centre Tokyo.
In philosophy, absurdity refers to the conflict of the human tendency to seek inherent value and meaning of life and our abilities to find these with any certainty. In my perspective, this applies to creative individuals too, we should embrace the absurd qualities within us and allow our creativity to flourish in our everyday practice.
MOVED
Contact Instagram: @ruiruidotcom Website: ruiruipractice.com
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3D Ren Callum Jones Isaac Haring Tiger Charles Hongmung 30
ndering 31
Callum Jones Hyperpop Album Covers 2021 | RMIT University
Hyperpop is a predominantly experimental microgenre of music that takes elements of multiple larger genres including pop, hip hop, electronic, and classical, to create a particularly ‘hyper’ and often unexpected overall sound. These album covers were created by using Blenders’ 3D
rendering and Photoshop’s now redundant 3D software. The aim was to explore and encapsulate the style, context, and personality of the genre, whilst exploring the innovation and futuristic capabilities of design technologies.
HYPERPOP ALBUM COVERS
Contact Instagram: @cprkrjdsgn Behance: Callum Parker Jones
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Isaac Haring Planet
2021 | Griffith University, Queensland College of Art
Planet is a collection of computer– generated images that communicate an abstract interpretation of life beyond Earth. Each concept draws from nature as an inspiration and hopes to create lasting awareness about the future of our environment. While abstract in form, the image’s grounded design style was influenced by the galleries and museums that were no longer accessible during COVID–19, creating the opportunity to showcase digital work as if it were in a physical space.
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3D RENDERING
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3D RENDERING
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PLANET
Contact Instagram: @unimaginative.design
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Tiger Charles Hongmung Crypto Chess
2021 | Swinburne University of Technology
Crypto Chess is an NFT collection that expresses my experience of playing chess at a young age. When I was young, I found so much joy in improving and striving to be on top. It was the first thing I became obsessed with, and now each time I play it reminds me of simpler times and friendly competition against my peers. There are 32 pieces in the crypto chess collection, mimicking the number of pieces in an actual chess set. Each final piece is 240 frames of looping animation at a high resolution of 2160 x 2700px available as NFTs.
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DIGITAL ART
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3D RENDERING
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CRYPTO CHESS
Contact Instagram: @tigerdoesdesign Website: tigerhongmung.com Animations: tigerhongmung.com/nfts/crypto-chess
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Logo D Christian Villani 44
Katie Zhou
Design 45
Christian Villani Vellcro
2021 | University of South Australia
A university branding project, Vellcro is a social media mobile app designed to reconnect those split apart by COVID lockdowns. Friends and family are put into random, spontaneous mini– game sessions throughout the day, reducing the monotony of social isolation. This is depicted
through the paper plane/cursor icon, representing online connection and messaging. The hand–drawn, vectorised type also conveys the idea of fun and playfulness, further emphasised by the purple and orange colour identity. Alike to Velcro, the app forms strong connections and is flexible to everyone.
VELLCRO
Contact Instagram: @christianvillani.design Website: christianvillani.design
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Katie Zhou Culture Club
2021 | RMIT University
Cover art for Culture Club podcast, where two 20–something media ‘slashies’ chat about pop culture, current affairs, the internet and their lives. This typographic composition is entirely custom– made and hand–drawn, driving the design with its unique forms and shapes. Pairing this typography with the vibrant and youthful colour palette has created a fun, playful and eye–catching look to draw in potential listeners.
Contact Instagram: @katiezhoudesign
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LOGO DESIGN
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Typog Isaac Haring 50
graphy 51
Isaac Haring New Manuscript
2021 | Griffith University, Queensland College of Art
New Manuscript takes inspiration from manuscripts found in choir books and the forms found in classic music sheet covers. The hypothetical client for this project was the Queensland Symphony Orchestra, as it introduces new generations to a selection of historical and contemporary music. The combination of old–style and modern letterform characteristics resulted in a stylish font that ties classical aspects of history with a modern audience. The typeface can be used in various formats but is designed as a title/ display typeface and is best applied on large scale promotional material such as brochures, posters, and banners.
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TYPOGRAPHY
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TYPOGRAPHY
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NEW MANUSCRIPT
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TYPOGRAPHY
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NEW MANUSCRIPT
Contact Instagram: @isaac_haring
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Brand a Identity
Ariella Weinmann Britney Mona Clarise Sum Emilija Prodic Fe Mei Leong Mikayla Gunner 58
and y
acella elicia Nguyen 59
Ariella Weinmann Commonality
2021 | RMIT University
At Commonality, we’re breaking through the barriers of the beauty industry, and redefining what it means to achieve beauty. We’re for all people—all sexes, genders, shapes and sizes–and we’re for the betterment of the world. Regardless of your genetic make–up, our makeup is for you. Despite our differences, what we all have in common is that we’re human and that we’re beautiful.
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BRAND & IDENTITY
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BRAND AND IDENTITY
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COMMONALITY
Contact Instagram: @ariellawdesigns Website: ariellaweinmann.com
LinkedIn: Ariella Weinmann
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Britney Monacella Check Your Melons
2021 | Swinburne University of Technology
The Check Your Melons campaign aims to help spread awareness for young females and why it is important to check your breast regularly. This campaign takes more of a humorous approach to fit into the target audience of females who are 20+. This provides young females with information about checking for lumps and why it’s important for
them to be detected early for successful treatment. The touchpoints created for this campaign has been made to be seen in a variety of places and designed differently to fit into the context of the campaign. These encourage females to take the next step for checking their breasts.
CHECK YOUR MELONS
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BRAND AND IDENTITY
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CHECK YOUR MELONS
Contact Instagram: @britneym_designs
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Clarise Sum The Soulmate Tapes 2021 | RMIT University
Brand identity, device mock–ups and promotional media for The Soulmate Tapes. This project addresses the need for human connection in a futuristic world with higher life expectancies, as well as increased levels of isolation and loneliness. The Soulmate Tapes provides users with a portable soulmate sensor. Simply carry the device wherever Photography: Gemma Chua–Tran, Youssef Naddam, Shingi Rice and Toa Heftiba
you go and wait for it to detect your perfect match when they are near. The cassette shaped device will softly vibrate and play your soulmate’s favourite song, becoming the first song in ‘the soundtrack to the rest of your life’. The Soulmate Tapes is the result of exploring future scenarios and proposing speculative products that address future needs.
THE SOULMATE TAPES
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BRAND AND IDENTITY
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THE SOULMATE TAPES
Contact Instagram: @themidnight.artscene
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Emilija Prodic Toolz
2021 | RMIT University
The task was to speculate future realities, research into possible future outcomes, and finally, propose a concept for the future and design for it. A brand called Toolz gives away eye treatment (shots of CRISPR) to people who have any vision problem. Toolz helps people by donating free toolkits.
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BRAND & IDENTITY
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BRAND AND IDENTITY
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TOOLZ
Contact Instagram: @bobawillbeback Website: emilijaprodic.com
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Emilija Prodic Universal Design Campaign 2021 | RMIT University
The task was to develop a creative proposal and design one creative artefact which will spread awareness to the chosen topic—which is Universal Design. After the intensive research on the topic of UD and its visual language, I developed the
‘Can you hear me?‘ campaign. I designed stickers that contain QR codes that lead to an App that contains helpful resources and spreads awareness on Universal Design. The stickers are put up in places that are not accessible to everyone.
UNIVERSAL DESIGN CAMPAIGN
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BRAND AND IDENTITY
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UNIVERSAL DESIGN CAMPAIGN
Contact Instagram: @bobawillbeback Website: emilijaprodic.com
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Felicia Nguyen The ‘Here’ Project 2021 | RMIT University
An identity system and digital application designed for my Typography in Context course. The ‘Here’ Project aims to celebrate the connection and associations within Melbourne’s diversity within the creative arts. We were briefed to solely use typographically derived elements of the project
title to create our identity. We had to design a brand identity including a logo and colour palette, a 3D marker that would appear in various locations across the CBD which invokes our message, and a website for use on desktop, mobile, and tablet.
THE ‘HERE’ PROJECT
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THE ‘HERE’ PROJECT
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BRAND AND IDENTITY
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THE ‘HERE’ PROJECT
Contact Instagram: @felly.exe Website: felicias.studio
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Mei Leong Tangible
2021 | RMIT University
Tangible is a mental health organisation supporting adults with eating disorders to develop healthy modes of expression through creative art therapy. They promote safe, non–verbal means of expression to explore self–image and examine relationships with body weight and food through art therapy. The brand’s identity grew from the core values
of compassion, transformation, expression and inclusion. The logo reflects the holistic approach of art therapy: two threads of mind and body intertwine to form a tangible connection in the knot. Secondary graphics incorporate texture from analogue media to convey the physical properties of art therapy.
TANGIBLE
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TANGIBLE
Contact Instagram: @meifleong
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Mikayla Gunner Poca! Pasta
2021 | Billy Blue College of Design
Poca! Pasta is a loud, fun and youthful concept I created for a Design Thinking assessment. Inspired by the frustration of never knowing how to measure the correct amount of pasta. Poca! Pasta targets younger consumers (typically aged between 18–35) that usually cook for 1–2 people, and want to expand their culinary skills, reduce waste and get excited about cooking. Poca! Pasta directly translates to ‘little pasta’ in Italian. The word ‘poca’ sounds like
‘poke–a’, referencing the standout improvement of the packaging–the perforated ‘poke-a’ out serving size guide. My packaging design also improves on other key issues identified by the target market, such as the lack of sustainable choices, the inability to re–seal plastic packaging once opened, and that current designs are very traditional—in both namesake and branding style, and do not spark any excitement.
POCA! PASTA
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POCA! PASTA
Contact Instagram: @mik.made.this Website: mikaylagunner.myportfolio.com
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Publica Design
Alexander Holmes Callum Jones Eliza Chua Emilija Prodic Jasm Katie Zhou Mikayla Gunner R 96
ation
s Christian Villani mine Vasarhelyi Ruiying Zeng 97
Alexander Holmes
Revealing the Unseen: Tourism, Art & Photography 2020 | Swinburne University of Technology
Revealing the Unseen: Tourism, Art and Photography is an academic article by Steve Garlick. Published in 2002, Garlick explores what the role photography plays in determining the nature of touristic experience. Garlick states that ‘by foregrounding the role of photographic images in the production of memory and sel–identity, it is suggested that tourism can be understood as the creation of
one’s life as a work of art’. The brief for this project was to create a publication for an existing academic article of my own choice. Garlick’s article not only resonated with my personal experiences of being a tourist but also presented an opportunity to showcase my view of being a tourist in Japan.
REVEALING THE UNSEEN: TOURISM, ART & PHOTOGRAPHY
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PUBLICATION DESIGN
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REVEALING THE UNSEEN: TOURISM, ART & PHOTOGRAPHY
Contact Instagram: @holmes.creative
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Callum Jones Typography Specimen Book 2021 | RMIT University
Founders Grotesk was released in 2010, during the post–modernist, contemporary era of digital typography. In the production of this specimen book for a university brief, I applied typography and publication design knowledge to create an effective and engaging promotional design that deeply explores Founders Grotesk as a font family.
Initially, I began the design process by sourcing text from the designer’s website to include within the specimen book, which I added to as required and planned out (considering informational hierarchy) the features in the document that I thought effective to include, including a full glyph set and typographic anatomy analysis.
TYPOGRAPHY SPECIMEN BOOK
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PUBLICATION DESIGN
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TYPOGRAPHY SPECIMEN BOOK
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PUBLICATION DESIGN
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TYPOGRAPHY SPECIMEN BOOK
Contact Instagram: @cprkrjdsgn Behance: Callum Parker Jones
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Christian Villani Contrast
2021 | University of South Australia
A university publication project, Contrast is a monthly design education magazine, with this issue focusing on street art and design principles. Using offset imagery of murals and graffiti within Adelaide’s CBD, the magazine aims to explore how street artists have employed these
principles effectively to promote a message, create visual interest and evoke a response from the audience. The use of type hierarchy and repetition allows for visual interest while not superimposing the images—which remain the focus of each spread.
CONTRAST
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PUBLICATION DESIGN
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CONTRAST
Contact Contact Instagram: @christianvillani.design Website: christianvillani.design
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Eliza Chua Takeout Trash Zine 2021 | RMIT University
Trash is typically perceived as dirty and worthless, and one would usually never dig through their own bins. Takeout Trash is formed from a collection of trash and packaging from my very own takeout containers, that would have otherwise landed in the bins as trash. Takeout Trash is a glimpse into what my bin would have otherwise looked like. Takeout Trash was born from my curiosity about these items we so mindlessly throw out after every takeout meal. I found an opportunity in the pile of trash sitting by my door and made it my mission to unravel the beauty of trash. It is trash you would actually want to flip through and look at.
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PUBLICATION DESIGN
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PUBLICATION DESIGN
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TAKEOUT TRASH ZINE
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TAKEOUT TRASH ZINE
Contact Instagram: @bonsaipractice Website: bonsaipractice.cargo.site
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Emilija Prodic Asian Cookbook 2021 | RMIT University
Asian Cookbook is a publication that consists of a collection of traditional food illustrations from Singapore, Vietnam, India, Malaysia etc. The Illustrations were awarded a Merit on 2021
AGDA Awards, for their colourful and eye–catching look. The illustrations were done for a client based in Singapore and were displayed as a part of a local food chain.
ASIAN COOKBOOK
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PUBLICATION DESIGN
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ASIAN COOKBOOK
Contact Instagram: @bobawillbeback Website: emilijaprodic.com
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Jasmine Vasarhelyi Women In Design 2021 | RMIT University
In early 2020, I was inspired by an AIGA article that reported women make up more than half of the design industry and still experience gender inequality and underrepresentation. This led me to my research that focused on women’s role in the design industry. I designed a bi–annual publication
which showcases and celebrates women in the design industry who are under–represented. It strives to uncover undiscovered talent within our local community.
WOMEN IN DESIGN
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PUBLICATION DESIGN
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WOMEN IN DESIGN
Contact Instagram: @jasminevasarhelyi @saintkyanitestudios Website: jasminevasarhelyi.squarespace.com
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Katie Zhou Once Upon A Time 2021 | RMIT University
Once Upon A Time zine is essentially an ode to childhood and imagination, looking into both Katie’s and others’ experiences. Inside there is a playful and nostalgic collection of illustrated scenarios, quotes and memorabilia. These elements work together to remind viewers of the way children seemingly view the world in technicolour and the importance of holding onto this as they go into adulthood.
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PUBLICATION DESIGN
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ONCE UPON A TIME
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PUBLICATION DESIGN
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ONCE UPON A TIME
Contact Instagram: @katiezhoudesign
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Mikayla Gunner The Creativ
2021 | Billy Blue College of Design
Introducing The Creativ magazine. As part of a typography assessment I was tasked to create my own design magazine. This involved coming up with a unique name, creating a hand–drawn typographic masthead, designing an original cover and designing consistent inside pages. The Creativ is a celebration of all things design. Handcrafted elements on the front cover seamlessly transition to the back, and the
glowing contrast of florescent green and black entices the reader to pick up a copy. Each page has been carefully crafted to enhance the content and put a spotlight on each artist’s work, without distracting from their design style. I was inspired by designers such as Alan Fletcher and Wes Wilson, and magazines such as Frankie, to create a publication bursting with bold colour, interesting compositions and balanced chaos.
THE CREATIV
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PUBLICATION DESIGN
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THE CREATIV
Contact Instagram: @mik.made.this Website: mikaylagunner.myportfolio.com
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Ruiying Zeng To Kill a Mockingbird 2021 | RMIT University
Using the space of the book, the cover design depicts alienation, confinement, and abuse to the African American people in the 18th century. The hole in the body refers to the tree hole that was cemented by Nathan Radley in the narrative, depicting the black figure as a tree of stability, tranquillity and life. All while symbolizing notions
of ‘wound’ and blockage of the outside world, signifying the lies of an adult to children, telling them that the tree is ‘diseased’. The hand of the figure extends to the back of the cover holding a mockingbird of growing camellias, a resemblance of innocence and purity.
TO KILL A MOCKINGBIRD
Contact Instagram: @ruiruidotcom Website: ruiruipractice.com
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Meet the Designer — Ruiying Z. Who is Ruiying? Well, my name is Ruiying , but I also go by Candice. I was raised in Melbourne but was born in Xiamen, China. I am currently a Graphic Design student studying a Bachelor of Visual Communication and Graphic Design at RMIT. Growing up, I became interested in design, especially the Bauhaus and modernist principles. For as long as I can remember, drawing and painting was always an all–time favourite for me.
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How would you describe your creative visual style? When it comes to visual style, I always feel that I am still on my way to finding my style that I stick with. I feel that my practice changes from time to time depending on the project that I am working on. But coming from an Asian background, Asian philosophies—especially Taoism— and philosophies related to wabi–sabi, definitely influence my thinking behind my work in many ways. I find that my work is habitually more muted in its colour palette, and I often like my work to speak softly to its audiences— but it really depends on the topic. At times, I feel as though I have a little crush on using lines in terms of the motion and meaning it can bring to a design. More recently, I was drawn to the works of abstraction artists and designers such as Isamu Noguchi, Ikko Tanaka, Agnes Martine and Josef and Annie Albers, whose practices have inspired my own. In my recent works, I became interested in discovering and working with form/
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structure and looking into utilizing abstractions to discover potential visual harmony and the meaning it can bring to a design. What are your favourite areas of art and design? Firstly, Graphic Design. I love every aspect of creating shapes, playing with colour and working with space. As much as I love the styles—such as Bauhaus, Dadaism, Constructivism, Minimalism and Abstract Expressionism—the most enjoyable part for me is probably the experimental nature of art and design and the process of it. It allows me to incorporate my knowledge with my practice and explore further. Pushing the boundaries of where I can reach with each piece.
What has been your favourite project to work on and why? It’s quite a hard question for me to answer because there are quite a few favourites. What makes a project favourite for me is probably the process behind each of them. The exploration, the mistakes and the opportunity to explore. Some of my favourite projects include a publication about graphical dimension and abstractions of Box Hill, ‘Between Intersections: Box Hill’ (2021), as well as an editorial illustration project of redesigning the cover of Harper Lee’s ‘To Kill a Mockingbird’ (2021), and a hypothetical vinyl cover design ‘Stand– up, from Harriet’ (2021) that speaks about human rights.
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What have you found the most challenging about being a creative? Have you been able to overcome these challenges? I will say challenges for me are separated into three types: 1. the getting inspiration and idea stage, 2. the selecting/comparing/ changing of ideas stage and 3. the refinement stage (such as choosing the right RBG/CMYK and creating the right mood and meaning expressed within). The second stage is quite frustrating for me, but the most challenging is probably the third stage. It requires lots of research, thoughts/consideration and time management to create something that I am happy with. A lot of the time, research and thought help me to overcome obstacles. I think to overcome the challenges it’s a matter of continuously exploring and learning to make each work spark in many different ways.
Do you have any advice for aspiring creatives? Never stop exploring and hunting for your creative voice. Finding your creative voice takes time, effort and dedication. Everything can be an experiment and nothing is perfect, just enjoy every process of creativity along your journey.
Contact Ruiying Instagram: @ruiruidotcom Website: ruiruipractice.com
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Ruiying Zeng
Box Hill: Between Intersections 2021 | RMIT University
Box Hill: Between Intersections is a publication exploring various graphical qualities of the liveliest landscape within Box Hill, Station Street. Using the intersection metaphorically, the publication focuses on translating the harmonious clash of diverging and converging architectural, social and locational cultures of the site. The publication ultimately creates a dialogue between person and space through time, space and engagement. The publication unfolds its narrative from the state of linguistic and visual confusion to a juxtaposition of chaotic, harmonious and contradictory qualities of energy, culture and aesthetics that are integrated within.
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PUBLICATION DESIGN
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PUBLICATION DESIGN
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BOX HILL: BETWEEN INTERSECTIONS
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PUBLICATION DESIGN
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BOX HILL: BETWEEN INTERSECTIONS
Contact Instagram: @ruiruidotcom Website: ruiruipractice.com
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Photog Hanh (Hannah) Vo 158
Jasmine Vasa
graphy
arhelyi 159
Hanh (Hannah) Vo UpGround
2021 | Swinburne University of Technology
UpGround investigates the relationship between humans and nature, through the understanding and appreciation of food and agriculture.
By acknowledging the food’s resources and our land’s agriculture, we’re taking the first step towards a more sustainable future.
UPGROUND
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PHOTOGRAPHY
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UPGROUND
Contact Instagram: @haanagram_
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Jasmine Vasarhelyi In the land of the living 2017 | RMIT University
In the land of the living is photo series that captures the essence of the locals in Bondi.
IN THE LAND OF THE LIVING
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PHOTOGRAPHY
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IN THE LAND OF THE LIVING
Contact Instagram: @jasminevasarhelyi @saintkyanitestudios Website: jasminevasarhelyi.squarespace.com
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Art Bronte Cormican-Jones Mythra Sage 168
Clarine
Wilmar 169
Meet the Designer — Alana L. Who is Alana? That’s a great question! I don’t even know! But as far as I’m yet to discover I am an aspiring Melbourne/Naarm based communication designer and illustrator. I have my strange addiction for all things 60’s ’n 70’s and I take a lot of my design inspiration from this period. Also, I am a huge sucker for cult classics. I am in my third and final year of university at RMIT (getting the first–year jitters after being online for two years though) making my merry ‘ole way through a Bachelor of Communication Design. And wow. I can’t stress enough, how much I love it.
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How would you describe your creative visual style?
What are your favourite areas of art and design?
Okay, I’ll tell you now—for free—that if there is anyone who can’t settle for a select style, it’s me. It took a lot of convincing on my part, but I’ve learnt that that’s okay! My creative identity is all over the joint, but somehow, one day, I hope we reach a final destination with her.
I, for sure, have a soft spot for publication and illustration, which when you put them both together often leads to book illustration and comic/graphic novel/zine–making. Ugh! But then again, I am a sucker for fine portraiture in graphite and oil paint… Indecisiveness is the devil on my shoulder!
I know a lot of fellow creatives who are also struggling with this (an artistic identity crisis support group could be a killer idea, note to self) but as they say, hey man, it’s the journey, not the destination. My creative pioneering begins in grimy, underground, surrealist Burton–esque illustrations to the other end of the spectrum at fine oil paint portraiture. An absolute mad cocktail, am I right?
I’d like to steer my professional career into the design industry because of the worldwide context and inevitable possibilities and the places in the world design can take you. International passport sort of stuff if you hit the big time! Art is probably the secret affair that I keep under wraps and consume in my free time. I’m not sure. Having goals and plans is essential in life, but sometimes you just got to put your best creative step forward and see where the wind blows you!
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What has been your favourite project to work on and why? It has to be the project that RMIT squeezed out of an extremely stressed Alana in the most recent final assessment period; a 20–page comic zine; ‘Frank Zappa’s “Joe’s Garage” Act 1’. I chose a graphic novel/comic–making studio titled ‘Panel to Panel’ which I was worried wouldn’t really benefit my future practice— as I had no original intent on comic making whatsoever!—but I felt deep down that it was a perfect outlet to let my inner creative pen wielding desire run free. And my forecasts were correct. It was amazing. I had the freedom to visually interpret one of my most beloved albums of all time by the lord of senseless nonsense and eccentricity, Frank Zappa. So cool. A bit mental. We love that. Ultimately, I was really happy with what I produced, even at the cost of some sanity (at least 50–60 hours of planning, drawing, inking and editing). Now, onto the next one! I’m addicted. It was a very happy little accident stumbling across that studio. 173
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What have you found the most challenging about being a creative? Have you been able to overcome these challenges? I guess speaking from a teeny tiny, not– very–experienced, university student’s perspective (this may not apply to all creative practises, however, I have a very strong feeling it probably does), we do face the almighty ‘Pressure’ in some way, shape or form. Deadlines are usually the biggest offender for us students, but the spectrum broadens to customer expectations, constraints, considerations, deadlines and quality control. There is so much to consider when you enter the professional stomping grounds. Don’t forget the monumental pressure on ourselves to make ends meet! The creative world can be a difficult industry to break into. And all these pressures are often feared or negatively inclined. But, I find that pressure is also quite essential for us to put our best foot forward. Almost like a fight or flight response, sometimes the best ideas come from the spur of the moment in a flash flood of frantic brainstorming. Call me crazy, but sometimes I am grateful for the pressure!
Do you have any advice for aspiring creatives? I know it’s always daunting, dipping your toes into uncharted waters—where there are Gods who dominate the industry (I have my fair share of worshipped designers and artists, we all should!)—and that you may feel like a small fish in a ridiculously large pond. Do. Not. Think. This. Way! Do not put yourself down before you’ve even given it a real kick! Comparing your skills will only bring you down. And it’s impossible to compare when everyone is different; that’s the beauty of the creative world, everyone has a unique style and something different to bring to the table. Don’t feel intimidated; rather inspired!
Contact Alana Instagram: @alanalacyart Website: alanalacy.bigcartel.com
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Bronte Cormican-Jones Sightlines
2021 | Sydney College of the Arts, The University of Sydney
Through tunnelling our focus, we erase the peripheral and centre our attention. This glasswork explores physical focus, allowing space for visual and psychical depth. Whilst neither landscape nor portraiture, both space and the self–occupy
a distance that is implied through tone and reflection. Sightlines is a study of the material qualities of glass. It plays with the way glass can be both looked through and reflect a space back to the viewer.
SIGHTLINES
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SIGHTLINES
Contact Instagram: @brontecormicanjones
Youtube: Bronte Cormican-Jones
Website: brontecormicanjones.com
Phone: 0401287207
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Clarine Wilmar
Intersect — The human–non–human connection 2021 | RMIT University
The 3.5–billion–year lapse in time from our beginning as a single–celled organism to the vastness of our biologically diverse planet we now know today is truly incomprehensible. My project Intersect — The human–non–human connection explores the overlapping nature of human and animal species alike. A stark contrast exhibits our exterior, visually incongruous and
varying greatly in size and shape, our similarities lie beneath the skin through our biological makeup. My body of work encompassing a mixed media form reflects the complexities of our make–up that have evolved throughout time. This work concentrates on depicting the exterior body as a vessel harbouring what is within.
INTERSECT — THE HUMAN–NON–HUMAN CONNECTION
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INTERSECT — THE HUMAN–NON–HUMAN CONNECTION
Contact Instagram: @clarinewilmar_art Website: clarinewilmar.com
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Mythra Sage Be Close
2021 | RMIT University
These oil paintings were created from shared moments of intimacy and connection. They explore concepts of what representational painting means in the contemporary era, dancing between figuration and abstraction. Initial images were gathered from an online call–out asking for people to share moments of closeness. Using photography as an entrance to the work, images are often morphed and left behind. This process is both an iteration and interpretation, with the work continuing the images’ history. Through a focus on the physicality and language of paint, my work distils the essence of these moments in an act of preservation.
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BE CLOSE
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BE CLOSE
Contact Instagram: @mythrasageart Website: mythrasage.com
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Contributors *Contributors are listed in order of appearance
Digital Design
3D Rendering
Logo Design
Typography
Brand & Identity
Publication Design
Photography
Art
Ashley Lavoynne Silaen Monash University Pages 10–15
Instagram @ashleylavoynne @lavoynn.e Website lavoynne.com
Joshua Tavener Billy Blue School of Design Pages 16–19
Instagram @joshtavhenny
Katie Zhou RMIT University
Pages 24–27, 48–49, 130–135
Instagram @katiezhoudesign
Ruiying Zeng RMIT University
Pages 28–29, 142–157
Instagram @ruiruidotcom Website ruiruipractice.com
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Callum Jones
Christian Villani
Pages 32–33, 104–111
Pages 46–47, 112–115
RMIT University
University of South Australia
Instagram @cprkrjdsgn Behance Callum Parker Jones
Instagram @christianvillani.design Website christianvillani.design
Isaac Haring
Ariella Weinmann
Griffith University, Queensland College of Art
RMIT University Pages 60–65
Pages 34–37, 52–57
Instagram @unimaginative.design @isaac_haring
Tiger Charles Hongmung Swinburne University of Technology Pages 38–43
Instagram @tigerdoesdesign Website tigerhongmung.com Animations tigerhongmung.com/nfts/ crypto-chess
Instagram @ariellawdesigns Website ariellaweinmann.com LinkedIn Ariella Weinmann
Britney Monacella Swinburne University of Technology Pages 66–69
Instagram @britneym_designs
Clarise Sum RMIT University Pages 70–73
Instagram @themidnight.artscene
Emilija Prodic RMIT University
Pages 74–81, 122–125
Alexander Holmes Bronte Swinburne University of Cormican-Jones Technology Pages 98–103
Instagram @bobawillbeback Website emilijaprodic.com
Felicia Nguyen RMIT University
Instagram @holmes.creative
Eliza Chua RMIT University Pages 116–121
Pages 82–87
Instagram @felly.exe Website felicias.studio
Mei Leong RMIT University Pages 88–91
Instagram @meifleong
Mikayla Gunner Billy Blue College of Design
Instagram @bonsaipractice Website bonsaipractice.cargo.site
Pages 176–179
Instagram @brontecormicanjones Website brontecormicanjones.com Youtube Bronte Cormican-Jones Phone 0401287207
Clarine Wilmar RMIT University
Jasmine Vasarhelyi
Pages 180–185
RMIT University
Instagram @clarinewilmar_art Website clarinewilmar.com
Instagram @jasminevasarhelyi @saintkyanitestudios Website jasminevasarhelyi.squarespace.com
Mythra Sage
Pages 126–129, 164–167
Pages 92–95, 136–141
Instagram @mik.made.this Website mikaylagunner.myportfolio.com
Sydney College of the Arts, The University of Sydney
Hanh (Hannah) Vo Swinburne University of Technology
RMIT University Pages 186–191
Instagram @mythrasageart Website mythrasage.com
Pages 160–163
Instagram @haanagram_ 193
Next Issue: Volume 05
Volume 05 submissions will open in June/July 2022. For updates and information about Young Designers of Australia, visit ydamagazine.com or follow us on Instagram at @youngdesignersau.
Where to Read Find past YDA volumes on Issuu or ydamagazine.com. All YDA magazines are available to read online for free.
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