2010

 

Echo is the response to the kiwi dream of having a DIY affordable home.

 

I can’t really say much as I don’t know if the product is out yet or not…

I wanted to convey those concepts: clean, simple and efficient.

2006

Visual Identity for Gelganyem and Kilkayi Trust, Western Australia.

• Logo   • Slogan   • Folder   • Booklet   • Project Sheets

Argyle Mine is a open cut diamond mine in the Kimberley’s, Western Australia, who has been digging since the 70’s over a underground Sacred Aboriginal  Women Site, named the Barramundi Gap.
In 1999 they found out they could dig underground, directly into the Sacred Site. In order to convince the Traditional Owner to let them do that, they promised generous financial compensation in order to help them reach a sustainable economy after the mine would have close, in 20 years time.
Two Trust were created to handle the repartition of the money: Gelganyem Trust and Kilkayi Trust. Each Trust is using an Aboriginal Painting of the Barramindi Dreaming as a logo, painted by two Women Elder who belong to the two main local communities.

Barramindi Dreaming

Tree women went to the river to go fishing. They put their traditional  trap into the water and wait for the fish. A big Barramindi  fall into the trap but manged to escape it by jumping over it, over a big hill off to another river.  The gap in the hill is now named Barramundi Gap. It’s a sacred site for aboriginal women and they do their initiation ceremony somewhere inside the hill.
In the Gidga Dreaming, the  the 3 women are changed into special rocks that we can still see today over the water.

Objective:
Create a visual identity that uses element from both paintings and gives the feeling it represents aboriginal interests.

On the Kilkayi trust page, you can see the blue river from the painting and 3 rocks, which are the 3 old women who turned into stone in the Gidga Dreaming.

The jumping fish represent the essence of this trust. First degree of lecture, is the barramundi from the Dreaming story, jumping over two hills, through a gap. So it’s an animal who gets out of its normal way, which is swimming, to jump in the air and save itself from being caught and killed.

That’s story teaches us to be creative, and go out of ones ways to avoid destruction and get out of a trap. That the very problematic of the aboriginal communities nowadays. That’s why the fish as to be jumping. It represent aboriginal people in action, traditional in the design but dynamic.The slogan, Jumping the gap: the fish is jumping over the Garramundi Gap, but it means jumping the gap between black and white, poverty and wealth, depression and pro-activity, past and future.Underneath, the diamonds are a promise of wealth for descendants.

2006
Broome, Australia.

– Logo
– Business Plan

Objective:
Giving an aboriginal feeling the Business Plan  yet showing great professionalism.

Response:
This aboriginal family wanted to create a Camel Tour, along with an Art Gallery, on Pender Bay, which is famous for its whales. To show the agreement between the project and mother nature, I made the camel kiss the whale. Aboriginal dots beams out of this encounter.

The business plan shows bold colors, typical of Aboriginal Art, yet the information are organised  in a professional way.

 

2007

Australia.

Campaign of  The Northern Territory Department of Primary Industry to encourage foreign mining companies to mine some more in the NT.

• Poster  • Folder  • Fact sheet
• Brochure   • Animation
• Website Design  • T-shirt • Promotional Stuff

It’s campaign designed to attract high-end foreign investors in the mining industry in the NT. The Art Director of this campaign wanted to show mining in the NT like an “Indiana Jones” style adventure, as if Uranium was a cultural treasure … Personally I would have down a cutting edge highly technical look in the style of  “Gattaca”, but this Art Director insisted on the Indiana Jones rip-off… So I had to do the visuals of this wonderful idea..

2004
Realised for Bright Communication,
New Zealand.

– Design of the association’s magazine: Kai Tiaki
– Lefleats

On the covers I turned the photos into iconic illustrations where the care provided is the hero.

 

I had to design a new layout for the magazine, and supply template files that would be used in-house. It had to be simple and functional, as the editors would use it themselves, not a mac operator.