Optus wanted to create an immersive business centre for future thinking and new technologies, and came to us to give their new hub an Optus brand look and feel. And help them create a space where business leaders can learn, swap ideas and build new horizons. The application needed to be largely rather than physical due to the heritage building constraints.

I worked closely with the interior architects, Optus’ facilities manager and the production team to deliver an eye catching welcoming space, that could be bumped in and out with zero lasting impacts on the space. Optus Enterprise’ 5G Innovation Hub is an immersive experience that provides customers the opportunity to experience 5G to test and co-create targeted use cases and engage with an extensive 5G ecosystem (Optus Enterprise, partners and start-ups).

Click here see the Optus 5G Innovation Hub launch video.

Evolve designs from previous Network Rail sites to create a new and exciting visual style, whilst maintaining Network Rail’s DNA.

Working closely with Project Management to learn client’s external and internal signage requirements. Take client feedback from initial designs to deliver a successful graphics package. 

Review installation and complete signage defects in addition to photographing completed site.

In the midst of the 2021 Covid-19 lockdowns, Optus were gifted access to transit media placements. We saw this as the perfect opportunity to recognise and pay tribute to the essential workers of Sydney.

We created a campaign that gave frontline workers the thanks they deserved, washing the city with a unifying message of hope and support.

We wanted the messages to be warm, real and uplifting. So, we asked Optus staff to think about a friend or family member who is an essential worker, to put themselves in their position, and write it to them. Sharing their admiration for everything they’ve done. And will do.

Once we had our messages, we worked to determine which messages best suited each media placement. The train exteriors needed to consider door openings and windows. While inside the carriage, we worked with a range of different sized placements, matching our messages of support and their varying lengths, to the placement that was their best fit.

Working closely with the Creative Director and Head of Art to ensure integrity of the initial concept, the new Meals on Wheels SA branding highlights the company’s biggest and best asset – the volunteers.

A teaser web page was created to launch the new campaign, as well as a series of press ads, brochures and web banners.

This body of work was a finalist at the 2019 AADC (Adelaide Advertising & Design Club) awards in the Craft in Communication category.

Optus Campus Sydney (OCS) is currently undergoing a redevelopment, requiring graphics for hoardings.

The hoardings will be in place for the duration of the development (approx. 9 months) and will be the first thing visitors and employees see as they enter Optus campus via the main entrance.

The hoardings need to be welcoming, exciting, fun and engaging, while at the same time informing visitors and staff about the development and what’s to come.

This disruptive design uses quick-witted copy and bold phrases, combined with warm, positive images, to stop and engage visitors and staff. It’s vibrant colours, modular design and inspiring words brightens up the area and intrigues the eye.

When The Rowdy Group moved into their new Adelaide CBD office the space was industrial and sparse. We needed to inject personality and colour to bring the agency to life.

When the challenge of sourcing a pink canon (the agency’s icon) was set, I was determined to find a way to make it happen. Commissioning The Brickman to build an 1.8m large canon from Lego was sadly out of budget, but I was able to source a fibreglass canon and worked with the supplier to paint it in TRG pink. It certainly has became the focal point of the reception area.

With the graphics, I created a visual journey from the street entrance, the lift and reception area, break out spaces and the creative hub, bringing to life the witty anecdotes written to describe The Rowdy Group’s ethos.

Way finding and environmental graphics taking inspiration from the Welsh landscape.

The colour palette was selected from images of the Welsh landscape that would feature as wall graphics throughout the building. The feature walls incorporated passages from famous Welsh poet Dylan Thomas.

Meeting rooms and amenities signs displayed both Welsh and English translations.

The ‘It’s Time’ campaign for global law firm, Allen & Overy, was created to push boundaries and uphold A&O’s confident marketing strategy.

The Global Brand Toolkit featured a brochure, suite of posters, exhibition stands, press ads, DMs, web banners and social media assets targeting graduates, experienced lawyers and support staff for the UK, US and global markets.

The fresh and aspirational visual style, captures the crucial moment before something amazing happens. Visual metaphors represent the feeling of momentum graduates would experience and conveyed the future-focused pace of a career at A&O.

Work closely with the Senior Art Director to ensure vision of design is delivered to a high standard. Working with time and asset limitations, scenes and backgrounds were created to replicate the iconic moments in the Star Wars films.

Content creation for social media platforms with the aim to ‘Excite, Delight, Educate and Entertain’.

Often creating something from nothing, with little to no budget. I was tasked with building 5-7 pieces of content per week, including writing the supporting post copy, building basic gifs, and when budgets allowed art directing photoshoots. We saw a significant increase in the number of followers and user engagement.

Check out the National Pharmacies instagram account here.

A child with an undiagnosed eye problem can impact their life in so many ways. Not only can it impact their learning at school, it can also destroy their confidence and self-esteem. The 20/20 by 2020 campaign helps give every child the brightest outlook on life.

Working closely with the Creative Director and Head of Art to ensure integrity of the initial concept, I worked with an external team of web developers to bring the website to life.

A series of posters, social media posts, outdoor, eDMs and Direct Mail pieces also accompanied this campaign.

Click here see the full 20/20 by 2020 website.

Taking the visual style from the overarching ‘This is Belonging’ campaign, an array of print collateral was designed for the Officer recruitment campaign.

The neutral tones from The Army’s colour palette creates a clean and modern design. The use of icons, paired with imagery depicting mateship, creates a new and welcoming approach for people wishing to join the British Army.

A more informative approach to social media posts was created, showing the viewer a snapshot of what to expect as a new recruit in the British Army. 

In the shadow of the demon download there’s still hope for design in music. In an exhibition of the best gig posters, past and present, Clinic asks ‘is there room for the tangible in the world of digital?’.

I worked closely with the Creative Director to bring his vision to life. I assisted in sourcing gig posters from around the world, designed the welcome board and giveaways, and worked with the Creative Director to curate the exhibition. 

We turned our office into an exhibition space for a week, and brought in various walls to mimic the textures in which gig posters are plastered around the city. We also hosted a Q&A event with numerous gig poster designers from around the UK.

Art direction of short video for the launch of Monarto Zoo’s name change to Monarto Safari Park. Working to a tight deadline, with limited budget, footage was selected to complement the script. Supers designed to match Zoos SA branding and words animated to build hype and excitement.

The style of the environmental graphics at this Network Rail site takes inspiration from the famous landmarks in and around the Bristol area. 

Starting with a floor plan, I worked with the Project Director to determine signage requirements and suitable positioning. I attended the site survey to ensure all suggested signage would be appropriate and positioned correctly. I worked closely with the production company to test printing methods to ensure DDA was adhered to, as well as attending the site to undertake installation review and photography.