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The Road Runner Fried Chicken food truck specialises in Southern American style fried chicken; with accompanying fries, slaw and hot sauces.
Inspired by the abundance of neon signs seen throughout America, I created the bespoke lettering and icons in a contemporary neon style, with the connected winding letters based on neon tubing.
The large, smooth letterforms are clear and iconic on the bright red truck, making for an approachable and memorable identity.
The dynamic alignment of the words in the logo and forward direction of the arrow indicates movement, reflecting the ‘road runner’ name and fitting in nicely in the context of the moving truck.
The arrow elements further enhance the symbolism of the neon sign, whilst directing the customers for ordering food.
The other items I designed include stickers and patterns for food packaging, a simple animation with illuminated letters and icons, and business cards with raised ink for a glossy 3D tactile effect reminiscent of neon tubing.
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The visual identity I created for Nat Kitzelman was inspired by her playful and colourful Australiana textile designs.
The colour palette is representative of the Australian landscape — red earth, blue sky and turquoise water.
Emulating Nat’s handwriting, the ‘nk’ logo mark highlights the authenticity of the company and incorporates animal illustrations as a cute addition.
The joining of the jigsaw business cards is reminiscent of the ‘repeat pattern’ process used in the creation of textile designs. The Aussie animals I've illustrated join up across the cards, although joining the wrong animals together is quite fun too! How about a kangamu or platatoo?
With quirky animal facts featured on the postcards and catalogue pages, these items are great to collect and share.
The brown textured card has been used throughout the designs, alongside a smooth cream paper stock, for a warm and friendly look and feel.
The catalogue is colour-coded, separating the various sections, and the large images are closely cropped to show the garment details and focus on the expression of the models who happen to be Nat's friends and family!
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Drawing inspiration from imagery and crests associated with ancient army regiments, I created this visual identity for The Regimental Condiment Company.
I was able to source copyright-free books of old etchings and illustrations and build up a library of elements such as animals, weapons, emblems and fighter planes, which I then reworked and collaged with various other components to make unique symbols and mascots (e.g. a cobra wrapped around a sword or a leopard leaping over rifles).
The condiment labels feature the exquisite illustrations, clever product names and engaging, evocative stories.
The minimal colour scheme of cream, black and green creates a strong and consistent family of products, which have a unique personality on the shelf.
These designs have been recognised for multiple awards including the Australian Packaging Design Awards and the Melbourne Advertising & Design Club Awards.
The range of condiments are based on traditional family recipes and currently include chutneys and relishes, jams and jellies, sauces, mustards and horseradish, and cheese jellies. The brand is growing rapidly, with new products being developed and added to the range.
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Our brief from Spicers was to design a specialty paper sampler highlighting the stock’s abilities and illustrating the intoxicating power of embellishments.
With this theme in mind, we decided to put together a selection of theatrical cocktail recipes each with its own ‘embellished’ component such as edible gold flakes, a garnish of bacon or a plume of smoke.
Like mixing cocktail concoctions, the recipients of the Spicers Alchemy pack can mix and match a variety of stocks with different finishes.
The pack consists of boxboard dividers featuring a letterpressed cocktail illustration and recipe, and each section comprises a selection of coasters decorated with the specific ingredients.
The illustrations on the dividers are made up of the cocktail components, implements and serving vessels. I used a simplified geometric style of illustration, consisting of abstracted lines, which overlap and intersect to create interesting layers and combinations.
To show off each paper's stunning quality, we chose subtle embellishments such as blind embossing, translucent pigments and pearlescent foiling to complement the harmonious stock colours and highlight the delicate overlays.
The box lid features a gold foil title on the outside and slides off to reveal a blind embossed pattern underneath. Each piece inside the pack uses forme cut corners as a decorative way to delineate the sections. The stock and embellishment info for each coaster is detailed on a custom wavy forme cut gold sticker on the reverse side.
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I designed these pieces at Liquorice Studio: liquorice.com.au
It is with their generous permission I include this project on my site.
Managing Director: Scott Bonanno.
Creative Director: Shane Loorham.
Photography: Shane Loorham & Scott Bonanno.
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This identity is inspired by the elegant, simple and playful pieces locally designed and handmade by Bankymoon.
Bankymoon specialise in plant stands and custom jewel-like pieces to beautify urban spaces. In the future, they are also looking to develop indoor room dividers, balcony facings and perhaps move into larger scale industrial projects.
Featuring the details of both Noël and Andy, the business card emphasises the partnership inherent in the business and provides a dual functionality.
The repetition of the shapes in the identity creates a uniform pattern, allowing the letters to sit neatly in the negative space between the lines. These overlapping shapes can be seen as flat or three dimensional, highlighting the idea of working with indoor and outdoor spaces.
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Photographs of plant stands: Noël Skrzypczak & Andy Newton.
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This logo symbol is made up of the letters ‘c’ & ‘r’, the initials for Clubhouse Records. The rotation and repetition of line in the circular characters echoes the shape of records, and the smooth clean lettering is inspired by modernist logotypes from a time when vinyl was at its peak.
The colour combination of deep red and blue ink on pale pink and green card creates a warm retro feel.
Hypnotic spiral patterns are used throughout the designs, symbolic of sound reverberation and of being absorbed in the music. The circular lines also suggest a spinning record and the indented grooves in vinyl.
The branding elements were made into a set of rubber stamps and used throughout the store for cost-effective business cards, labels, flyers and packaging.
The texture of the stamps relates to the crackles often heard when listening to records, and the hand-done aspect of the application is reflective of the hand-picked merchandise and personable experience in the boutique store.
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Michaël and Patrizia of La Petite Crêperie approached Liquorice to refresh and redefine their visual identity. Our aim was to create a strong and singular brand presence for their existing and future stores, retaining their distinctive red and white chequered pattern and authentic French atmosphere.
The new logo design integrates and highlights the chequered stripes as part of the customised lettering in which the letters extend and become part of the pattern. The stripes hint at a French look and feel and add to the boutique kitchen aesthetic. A striped border is incorporated as a prominent branding element, alongside rustic timber finishes, and quirky illustrations.
Through discussions with our client, we embraced their phrase ‘Arrogantly French’ for a tongue-in-cheek tagline, communicating the unique French experience of their stores, from staff to dish, music and ambiance.
The suite of designs I created for La Petite Crêperie include logo, illustrations, business cards, menus, flyers, packaging and store signage.
LPC currently have three venues in the Melbourne CBD. They specialise in authentic, traditional French crêpes, savoury galettes and baguettes, all made with quality, fresh ingredients. Working on these designs made me hungry!
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I designed these pieces at Liquorice Studio: liquorice.com.au
It is with their generous permission I include this project on my site.
Managing Director: Scott Bonanno.
Photography: Provided by La Petite Crêperie.
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My dear sister Catherine and her fiancé Christian approached me to design their wedding invitations.
I created a symbol using the two C’s of their names. The joining of the two C’s represents the union of Catherine and Christian, and is also illustrative of two wedding rings.
We selected a gold foil for its elegance and luminous quality, as well as its symbolic reference to wedding rings.
The invites were printed on a pale cream stock with a subtle texture, and placed in matching cream envelopes which were stamped with the symbol.
I also created a decorative pattern based on the symbol of the linking C’s which we had screen-printed on a linen tea towel as gift for the wedding guests.
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Photographs of wedding rings & vase: Ginger Van Handley & Romy Van Handley. Photograph of tea towels in basket: Gordon Bennett.
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Inside Story, published by Swinburne University, produces high-quality analysis and reportage using its network of Australian writers and academic researchers.
Refreshing the logo identity and brand personality, we also designed the responsive website and accompanying iPad app.
The aim of this project was to raise the profile of Inside Story, create streamlined navigation to aid visitor movement through the site, and produce an immersive reading experience to best showcase the article content found in Inside Story.
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I designed this website in collaboration with James Yencken at Liquorice Studio: liquorice.com.au
It is with their generous permission I include this project on my site.
Managing Director: Scott Bonanno.
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The Napier Hotel first opened in 1866. The building remains relatively unchanged; retaining its stained glass windows, high ceilings and decorative features.
The welcoming atmosphere is enhanced by the eclectic décor, well-worn timber floorboards and memorabilia from the old Fitzroy Football Club.
The logo symbol I created for the Napier Hotel is based on the beautiful crest featured on the building’s exterior.
The custom cut-out shape of the wine label has been drawn from the distinctive and charming architecture of the Napier Hotel’s facade, taking its colours from the outside of the building and the pressed metal dados inside the pub.
These designs reference the Napier's rich history, unique character and architectural significance.
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This publication was designed for Point Of View, a lighting design company, in order to display their beautiful photographs and substantial body of work.
The inspiration for the book design originated from Point Of View’s identity. I incorporated a circle motif derived from the logo, used light to create graphic imagery and built on the concept of a ‘viewpoint’.
Working with light and shadow, we developed a typographic image for each chapter heading. We experimented with varying angles, focuses, light densities and surfaces for projection to create a suite of different effects.
The finished book is 324 pages and showcases the last 10 years of Point Of View’s amazing catalogue of work. A special edition laser-etched glowing slipcase was created as a fun and extravagant extra.
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I designed this publication at Liquorice Studio: liquorice.com.au
It is with their generous permission I include this project on my site.
Managing Director: Scott Bonanno.
Photographs of finished book: Shane Loorham & Scott Bonanno.
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I designed this logo identity and business card for a talented freelance photographer, Sheree Porter.
With an even number of letters in Sheree's first and last name, and using a typeface of equal letter widths, the logo sits neatly in a compact rectangular block, reflecting the precision and attention to detail integral in Sheree's work.
The inspiration for the design of the business card stemmed from the photographer’s eye and the camera lens.
The business card design features a cut-out circle in the middle of the card, simulating the lens of the camera.
Whilst emphasising Sheree’s unique way of seeing the world, the concept also plays on the idea of perception and the notion that everyone will see something different through the 'lens'.
The typography on the card echoes the circular shape, taking visual cues from the white text seen around the rim of the camera lens, while the angle of the text represents the rotation of the lens.
The lettering has been printed with 6 hits of white ink for a stark contrast against the black card.
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All portrait photography featured on this page: Sheree Porter.
See more of Sheree's work: shereeporter.com
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I designed this catalogue to accompany Sam Martin’s collection of works featured in his exhibition titled ‘Crystalise Borders’.
With a nod to the title of the show, I emphasised the border of the page by using a white undersized cover flush with the bottom of the A5 booklet, revealing the border of the vibrant red stock underneath.
A strong, simple grid structure is used throughout the catalogue, with the images printed at a large scale in order to highlight the intricate layers and fluid brushstrokes used in these detailed compositions.
For this series of paintings, Sam’s imagery was originally sourced from newspapers which he then combined, layered and transformed into abstracted scenes in which the figures and borders merge and intersect. A collection of the original newspaper clippings are featured on the inside front and back covers, printed in black ink on the red paper stock. These are positioned alongside the corresponding finished painting on the opposite page.
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Yerp stands for Youth Engagement Resources Project and it is a site designed to provide information and guidance to young people wanting to make change in their lives/community or older people wanting to involve and encourage young people.
Yerp is supported by the Youth Affairs Council of Victoria (YACVic) and the Victorian Government.
I designed this website to respond and reformat when viewed on mobile devices for a comfortable user experience. The site uses a clean generously sized layout with a pastel colour palette, simple navigational elements and playful icons representative of each topic.
The header of the homepage features a slideshow with snippets from various articles, allowing the viewer to go straight into reading an article, or otherwise scroll down to the various article topics.
The two categories stemming from each topic, ‘for young people’ and ‘involve young people’, sit side by side with a shared icon and heading, hinting at the collaboration between the two audiences.
Fun animated GIFs are included at the top and bottom of each article page. Also at the end of each article is a link suggesting a related piece for the viewer to read, enhancing ease of reading and the time spent on the site.
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I designed this website at Liquorice Studio: liquorice.com.au
It is with their generous permission I include this project on my site.
Managing Director: Scott Bonanno.
Illustrations: Catalina Sinclair.
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The feminine visual identity I designed for Rubelle, a boutique beauty salon, consists of a custom logotype, accentuated with curls and waves, and a delicate pattern using a peachy red colour palette.
The pattern is made up of the capital 'R' from the logotype and has been used as a blind letterpress on the business cards for a textured debossed effect.
The items designed for Rubelle include stationery, printed collateral and store signage.
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I designed these pieces at Liquorice Studio: liquorice.com.au
It is with their generous permission I include this project on my site.
Managing Director: Scott Bonanno.
Photography: Shane Loorham.
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A&L Group are an Australian manufacturer and supplier of a diverse range of windows, doors, screens and glass panels.
Referencing A&L’s products, primarily glass and glazing panels, we created a strong brand identity using overlaying shapes and transparencies.
The dynamic sharp angles of the red layers, coupled with contrasting black and white imagery, was designed to be bold and attention-grabbing.
This is accompanied by large, confident and sturdy typography.
We worked on a range of items for A&L such as product brochures, brand guidelines, interior graphics, van livery, external signage and way finding solutions.
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I designed these pieces in collaboration with the team at Liquorice Studio: liquorice.com.au
It is with their generous permission I include this project on my site.
Managing Director: Scott Bonanno.
Photography: Shane Loorham.
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The identity I designed for this emerging Australian clothing label was created around the concept of ‘flowing lines’, inspired by the silken threads and specialty fabrics used for Tobey’s luxurious garments.
The look and feel of the branded items is warm, soft and tactile; enhanced through the use of the colour palette, rounded edges and embossed finish.
The designed items consist of swing tags, embroidered clothing labels, store packaging and stationery.
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I designed these pieces at Liquorice Studio: liquorice.com.au
It is with their generous permission I include this project on my site.
Managing Director: Scott Bonanno.
Photography: Shane Loorham. Photograph of model: Provided by Tobey.
