The visual identity for AM Motorsport was developed for a performance-focused mechanical workshop that services a limited number of vehicles at any one time. The client’s priority was to be perceived as high quality and meticulous, deliberately distancing the business from fast-turnaround, low-cost mechanical work.

From the outset, the identity needed to communicate precision, aggression, and performance, while still feeling controlled and professional. The brand was positioned to appeal to enthusiasts and performance-oriented clients who value careful workmanship, attention to detail, and trust in the person working on their vehicle.

The logo system is built around sharp, italicised forms that suggest speed and motion without relying on illustrative automotive clichés. A repeated linear mark functions as a performance motif, referencing acceleration, flow, and progression. This modular element allows the identity to scale across different applications while remaining instantly recognisable.

A high-contrast red and black palette was selected to reinforce intensity and performance while maintaining a sense of restraint and seriousness. Red is used sparingly as an accent to emphasise key information and brand moments, ensuring the identity feels deliberate rather than visually noisy.

Typography was chosen to support clarity and strength. Bold, condensed letterforms reinforce the mechanical and performance-driven nature of the brand, while consistent spacing and alignment reflect the workshop’s methodical approach to work. The type system prioritises legibility and hierarchy, particularly in practical applications.

The business card design was treated as a functional tool rather than a purely promotional object. The inclusion of service information reflects the workshop’s hands-on nature and reinforces the idea of long-term client relationships. The layout is structured and minimal, mirroring the workshop’s approach of focusing on one vehicle at a time and executing work carefully rather than quickly.

Overall, the design process centred on creating an identity that communicates control, performance, and trust. The resulting system reflects a workshop that values quality over quantity, precision over speed, and considered workmanship over visual excess.

This project was developed in response to research into the professional and personal challenges faced by teachers working in remote and rural Northern Territory schools. Initial research identified recurring themes of professional isolation, limited access to peer support, and reduced opportunities for ongoing reflection and development. These findings informed the direction of the project, positioning design as a tool to support connection, understanding, and sustained professional wellbeing rather than a purely visual outcome.

The research phase involved analysing existing support systems, educational resources, and communication tools currently available to teachers in remote contexts. Gaps were identified in accessibility, cultural sensitivity, and practical usability, particularly in environments where internet access and external support are inconsistent. This insight shaped the decision to create a flexible, offline-friendly toolkit that could function across a range of school settings and teaching experiences.

The design outcome is a modular resource toolkit built around three core principles: Connect, Understand, and Reflect. These principles informed both the content structure and the visual system, ensuring that each component worked cohesively while remaining adaptable to individual needs. The toolkit includes an information sheet, an A5 handbook, a set of conversation cards, and a series of infographic posters. Each element was designed to support a different mode of engagement, from structured reflection to informal peer discussion.

The process prioritised clarity, usability, and longevity. Content was carefully distilled to avoid cognitive overload, with clear hierarchies and consistent layouts guiding users through each resource. Materials were designed for both print and digital use, ensuring accessibility regardless of location or infrastructure. This approach reflects a systems-based design methodology, where consistency across formats reinforces understanding and ease of use.

The visual identity was developed to feel supportive, calm, and respectful of context. Colour choices were informed by the Northern Territory environment, while typography and iconography were kept minimal to maintain legibility and approachability. Design decisions avoided unnecessary decoration, instead focusing on creating a visual language that supports reflection, conversation, and sustained use over time.

Overall, the project demonstrates an integrated research-driven design process, where insights directly informed form, structure, and application. The outcome highlights how visual communication can respond to complex social and professional challenges through thoughtful systems, clear information design, and purposeful restraint.

The packaging system for Nuvé was developed as part of a commercial packaging project exploring how minimal design can elevate an everyday consumer product. Nuvé is positioned as a contemporary chewing gum brand that reframes freshness as a refined, intentional experience rather than a purely functional one.

The core concept centred on simplicity, calm, and balance. Rather than relying on literal imagery associated with flavour or freshness, the visual identity uses soft mint tones, structured stripe patterns, and restrained typography to communicate clarity and composure. This approach positions the product as part of a daily ritual, aligning with the brand’s tagline, “freshness, refined.”

The packaging suite consists of three interconnected components: a compact product box, a direct-to-consumer shipping box, and a retail display box. Each element was designed to function independently while maintaining a consistent visual and structural system. This layered approach allows the brand to operate across both retail and subscription-based contexts without losing cohesion.

Structural development was a key focus throughout the process. Multiple dielines and physical prototypes were produced and tested to refine proportions, folding methods, and closure mechanisms. The final product box was designed to hold individual gum packs securely while remaining slim, portable, and efficient in material use. The retail display box expands on this structure to present multiple units cleanly on shelf, while the shipping box supports protection, organisation, and brand continuity in transit.

The visual system is intentionally restrained. Vertical stripe motifs introduce rhythm and subtle movement, referencing breath and repetition without overwhelming the form. Typography and layout decisions prioritise hierarchy and legibility, with the Nuvé wordmark and tagline acting as the primary visual anchor. Soft contrast between tones ensures clarity while maintaining an understated, premium feel.

Material choice and sustainability were considered throughout the design process. All packaging components are produced using recyclable white cardboard, with dielines optimised to minimise waste. A thin plastic wrap is applied only where necessary to provide tamper protection and preserve product integrity, balancing sustainability with functional requirements.

Overall, the Nuvé packaging project focuses on creating a cohesive, flexible system that balances aesthetics, structure, and practicality. The final outcome demonstrates how thoughtful packaging design can transform a familiar product into something calm, refined, and considered, while remaining commercially viable across multiple distribution contexts.

This project investigates a sustainable redesign of Hot Wheels packaging, challenging the brand’s long-standing reliance on plastic blister packs. The primary aim was to reduce material complexity and environmental impact while maintaining the functional and visual requirements of a mass-market toy brand.

The redesign replaces the traditional plastic blister with a fully fibre-based paperboard structure, produced from coated unbleached kraft (CUK) board. By eliminating plastic and mixed materials, the packaging becomes recyclable as a single material through standard kerbside systems. Sustainability considerations were embedded early in the process, informing decisions around material choice, structural efficiency, transport, and end-of-life disposal.

Structurally, the packaging was designed to securely house the vehicle without the use of adhesives or additional components. The form ships flat to reduce transport volume and assembles efficiently, supporting both manufacturing practicality and retail requirements. A standard euro-hook was incorporated to ensure compatibility with existing retail display systems, allowing the redesign to function as a realistic alternative rather than a speculative concept.

Visual design decisions focused on retaining Hot Wheels’ strong brand identity while adapting it to the new format. Bold colour, clear hierarchy, and dynamic imagery were used to preserve shelf presence and recognisability, while the simplified surface encouraged more disciplined layout and typographic clarity. The reduction in materials allowed the graphics to play a more prominent role in communicating energy and motion, reinforcing the brand’s performance-driven character.

Overall, the project demonstrates how sustainability can be integrated into packaging design without compromising usability, brand recognition, or commercial viability. By balancing structural innovation with considered visual design, the outcome presents a practical example of how established consumer packaging systems can be re-evaluated through a more environmentally responsible lens.

This digital imaging project explored three core principles of visual communication: repetition, contrast, and hierarchy. The aim was to investigate how these principles can structure meaning, guide attention, and create visual clarity within complex image-based designs.

Each composition was developed using a combination of grid systems, image manipulation, and layered graphic elements. Rather than treating the principles as isolated concepts, the project focused on how they operate within cohesive visual systems, balancing control with expressive outcomes.

The repetition composition uses a structured grid and recurring visual motifs to establish rhythm and consistency. Repeated imagery and modular linework create a stable visual framework, while subtle variations in scale, rotation, and texture prevent the composition from feeling static. This approach reflects how repetition can reinforce identity and cohesion without becoming monotonous.

The contrast composition explores visual tension through the use of silhouette, distortion, and tonal variation. Strong differences in texture, colour, and form are used to separate foreground from background and emphasise key elements. The interplay between organic textures and rigid typographic forms highlights how contrast can be used to create focus and emotional impact within a design.

The hierarchy composition examines how scale, placement, and linework influence visual order. Elements are deliberately layered and framed to guide the viewer through the composition, establishing clear levels of importance. System-like graphics, microtext, and alignment cues reference archival and technical documentation, reinforcing a sense of structure and analysis.

Across all three outcomes, the project emphasises considered composition, precision, and visual intent. The use of grids, alignment, and controlled layering reflects a methodical design approach, while experimental textures and treatments allow for expressive variation.

Overall, this project demonstrates an understanding of fundamental design principles and their practical application in visual systems. It highlights an ability to balance structure with experimentation, and to use visual hierarchy and contrast deliberately to communicate ideas clearly and effectively.

This project presents a small digital art series exploring nature through form, texture, and print-inspired processes. The primary aim was to investigate how natural subjects can be reinterpreted using contemporary digital tools while retaining a tactile, material quality commonly associated with traditional printmaking.

The series consists of three artworks, each focused on a different natural element: butterflies, plant stems, and flowers. While the subject matter remains consistent, each piece applies a distinct visual treatment, including monochrome repetition, sepia-toned compositional framing, and cyanotype-inspired colour and edge treatments. This approach allows for variation within a cohesive system and demonstrates how a single theme can be explored across multiple visual styles.

Production centred on digital compositing, masking, layering, and texture development. Photographic source material was refined into simplified forms, then combined with grain, distressed edges, and tonal overlays to create depth and visual interest. Particular attention was given to surface texture and edge treatment to avoid a flat digital finish and instead suggest physical processes such as printing, exposure, and paper handling.

Visual decisions prioritised clarity, balance, and restraint. Clean compositions were paired with controlled texture to ensure each work remained legible while still conveying material richness. Colour palettes were limited and purposeful, supporting consistency across the series while allowing each piece to establish its own mood and emphasis.

Overall, the project demonstrates a considered approach to digital image-making that combines technical control with visual discipline. It highlights the ability to develop a coherent series, adapt techniques to different outcomes, and produce work that is both visually refined and conceptually grounded. These skills are applicable across creative, commercial, and design-focused contexts.

This interactive brochure was developed as a university project exploring how visual communication can be used to present complex social issues in a clear, engaging, and accessible way. The project focused on the topic of housing affordability in Australia, with the aim of informing audiences while encouraging reflection and action.

The design builds on an existing A3 poster concept to ensure visual consistency across formats. The colour palette and vector illustration style were retained to create a cohesive identity, while typography was refined to better suit longer text and smaller reading sizes. Typeface selection prioritised clarity, hierarchy, and legibility, particularly across structured layouts and data-heavy spreads.

The layout process involved multiple iterations informed by sketching, testing, and tutor feedback. Early concepts explored page structure and content flow, which were later refined to reduce repetition, improve hierarchy, and balance imagery with text. Particular attention was given to avoiding visual overload and ensuring each page served a clear communicative purpose.

In the final design, greater variation was introduced across spreads to maintain reader engagement while preserving consistency. Pull quotes, icons, and infographic elements were used to break up content and guide the reader through key information. Interactive components were incorporated on selected pages to extend the experience beyond the printed format, allowing users to access further information and engage more actively with the topic.

Overall, the project demonstrates a considered approach to layout, typography, and visual systems. The final brochure balances clarity with visual interest and reflects an ability to respond to feedback, refine ideas, and design with both audience understanding and usability in mind.

The Respect. Now. Always. zine was developed as a printed orientation resource for the University of Canberra, supporting the university’s initiative focused on respect, consent, and inclusivity on campus. The aim was to create an engaging and accessible publication that communicates sensitive information clearly while remaining approachable for new students.

The design process began with an exploration of format, comparing a traditional tri-fold with a French fold structure. The French fold was selected for its booklet-like quality and interactive nature, allowing information to be revealed gradually rather than all at once. This supported a more reflective reading experience and ensured key concepts such as consent and the FRIES model could be presented in focused, digestible sections.

Early layout experiments were text-heavy and prioritised information delivery over engagement. Through iteration, the content was refined and reduced, allowing visual elements to take a stronger role in guiding the reader. Illustrations and simple graphic forms were introduced to break down complex ideas and create a friendly tone without undermining the seriousness of the subject matter.

The visual system was progressively simplified to improve clarity and cohesion. An initially vibrant colour palette was reduced to a limited blue and yellow scheme, creating consistency across pages and reinforcing readability. Repeating wave forms and simple character illustrations were used to unify the layout and create visual flow throughout the folded structure.

The final design balances clarity, approachability, and professionalism. Careful consideration was given to print production, fold alignment, and layout sequencing to ensure the zine functions effectively as a physical object. The result is a cohesive and purposeful publication that communicates important messages in a way that is engaging, considered, and appropriate for its audience.