Project: Brand Identity
Year: 2016

With the aim to create a new identity for a fast growing organisation we set the goal of coming up with a design that was feminine, modern & simplistic which communicated everything the foundation is and has become. An innovative organisation that inspires, mentors and encourages female leadership throughout New Zealand needed an identity that represented the forward thinking nature of the organisation yet at the same time showed versatility of direction

Project: Brand Identity
Year: 2019
La Luna Rose is an ethical lifestyle accessories label based between tropical Bali & New Zealand. 

Connect Chiropractic Brand Identity

Project: Brand Identity, Guidelines, Logo
Year: 2018

Connect Chiropractic is a community-focused chiropractic practice in New Zealand, striving to make chiropractic care accessible and understandable to everyone.

Project: Packaging Design, Customer & Market research, Art direction
Year: 2018

Farro Fresh is a unique one stop, fresh food market with 5 stores located in New Zealand. 

I worked as Graphic Design lead & Co - Art Direction across over 20 publications of Farro Feast Monthly. Feast is a magazine publication which is produced every month to inspire readers on culinary trends, seasonal produce and small artisan producers in New Zealand.

Distribution Number up to 120,000/m
Years 2017, 2018

Project: Design Identity, Brand Activation, Print & Digital Marketing
Year: 2015

TEDx Wellington Women aimed to inspire women around wellington to find their groove, build momentum and inspire change in their community. As a designer it was important to design assets that were both reflective of the TEDx brand but also synonymous to the integrity of the event. The icon of the event became the moving silhouette of a women visualised through simple red lines that embody the concept that when we build momentum and inspire change we must have a calm mind and an active vision. A combination of playful and familiar element brought this project to life along with a range of inspiring women. 

Project: Campaign Posters
Year: 2018
A Collaboration with The Good Firm and Davinia Arias

In order to change behaviour we need to understand it. Designing a new way of engaging with users.

Method cards are designed to engage, inform and invite a selected group of participants to begin a week long food experiment. The five young female adults were given card that provided information about their weekly endeavour, whereby they would take a photo of everything they ate for a week. The participants would describe their experience and directly upload it to me via Instagram. Cards were also designed to engage question and conversation. There was a simple change in opacity and thickness of card indicative of what was informative and what should be written on. The cards aimed to be inviting, understandable and contextual.
 

Styling by Annabelle Nichols

Photography by Andrew Matautia

Eden life centres is a day spa situated in the heart of Seminyak, Bali. I designed a brand book, menu and campaign package to elevate their offering and differentiate their offering from other spas in the area.

Creating the habit of transitioning healthy snacks between the home and work context.

The Food for Thought Design for Change collection has been designed to discourage unconsidered eating decisions and help females bring order to their snacking habits to create a healthy routine of taking regular snacking breaks. The approach aligns itself with an eating personality many can identify with, ‘the stress eater’.

First conceived as an affirmation that the things we have around us are now a mixture of analogue and digital, I approached the project by examining the contexts and items that were prompting our eating decisions, rather than examining the outcomes of decisions we later regretted. The majority of research and documentation in these areas was visualized in behaviour maps and eating portraits that, from a distance, merely presents visual complexity and disorder. Extending its reach beyond the traditional conception of the “plastic container” the collection aims to translate seamlessly between the home and the workplace. Accompanied by witty graphic elements that are both reflective and persuasive, fridge stickers create an inviting home for the objects ensuring they are not forgotten or tossed with the abandoned selection of lidless containers.

With shapes and sizes that were consciously considered to relate an intuitive sense of portion control, the objects may be stacked and combined in any way the user sees fit, sealed with surface magnets. The simple yet sophisticated forms, material and colour palette indicate a level of thoughtfulness rarely brought to traditional eating containers. The collection is accompanied by a haptic (vibration) feedback workstation that subtly encourages the user to take regular breaks, using a small motor to pulse the grey mouse pad periodically at regular recurring intervals. In varying permutations the workstation allows for a subtle alert, invisible to others in the environment but engaging for the user. Providing a transitional home for the containers the collection is filled with design prompts in contexts that would formally be overlooked.

The series ranges from reminder graphics to minimal magnetic containers to diligent desk wear. Through this multifaceted, personal collection positive eating decisions and habits are encouraged and formed.  The range and regularity of use is far broader than traditional eating vessels, creating a seamless transition between the home, and the work environment. Using real accounts of female eating behaviours, the items in the collection ambitiously attempt to change behaviour through the use of subtle sensorial prompts, considered design details and purposeful product placement.

Photography by Andrew Matautia

Styling by Annabelle Nichols

Nothing food a provocative design project about the potential projections of 3d printed food in 2040. It combines natural food with biochemistry and current processed food methods. Comparable to Ferran Adria’s famous gastronomy in which Adria liberates new tastes and developed new methods such as nitrogen-infused foams Nothing food tricks the eye by promising tastes textures and nutritional value, yet in reality each sample food attains no nutrient value at all. The main question for this project aroused during the conversation with a biochemist. How do we define eatable? Is it based on whether we will recognize the object as food outside the body? Or is based on whether the body will recognize it as food once it is inside?
 Nothing food is a cautious concern for the future of unconsumable consumption, manufactured meals and forgotten food.
 

Styling by Annabelle Nichols

Photography by Andrew Matautia

Coming soon.