VCA DESIGN & PRODUCTION
GRADUATE SHOWCASE
GRADUATE SHOWCASE
FERRO — Metal-Themed Art Festival (2025)
Medium: Branding design (Adobe Photoshop, InDesign and After Effects)
Dimensions: Variable (digital and spatial installation formats)
Description:
FERRO (from the Latin word for “iron”) is a metal-inspired art festival branding project that transforms urban and natural spaces into immersive environments of metal, light, and sound. Rooted in minimalism and industrial aesthetics, the design reimagines celebration as a sensory experience—where steel meets silence, light meets echo, and humans become part of the architecture.
FERRO — Metal-Themed Art Festival (2025)
Medium: Branding design (Adobe Photoshop, InDesign and After Effects)
Dimensions: Variable (digital and spatial installation formats)
Description:
FERRO (from the Latin word for “iron”) is a metal-inspired art festival branding project that transforms urban and natural spaces into immersive environments of metal, light, and sound. Rooted in minimalism and industrial aesthetics, the design reimagines celebration as a sensory experience—where steel meets silence, light meets echo, and humans become part of the architecture.
Oblivion Times (2024)
Medium: AI-generated imagery (Midjourney), digital layout (Adobe InDesign), printed on newsprint
Dimensions: 29.7 × 42 cm (A3 newspaper format)
Description:
Oblivion Times is a dystopian newspaper that experiments with the integration of AI in visual storytelling. Using Midjourney to generate surreal imagery and Adobe InDesign for layout, the project juxtaposes futuristic content with the nostalgic form of a printed newspaper. This contrast creates a distinctive aesthetic tension—where the medium of the past meets the technologies of tomorrow.
Oblivion Times (2024)
Medium: AI-generated imagery (Midjourney), digital layout (Adobe InDesign), printed on newsprint
Dimensions: 29.7 × 42 cm (A3 newspaper format)
Description:
Oblivion Times is a dystopian newspaper that experiments with the integration of AI in visual storytelling. Using Midjourney to generate surreal imagery and Adobe InDesign for layout, the project juxtaposes futuristic content with the nostalgic form of a printed newspaper. This contrast creates a distinctive aesthetic tension—where the medium of the past meets the technologies of tomorrow.
D ISN’T FOR DUNCE, D IS FOR FUNZ (2024)
Medium: 2D digital animation (Adobe After Effects)
Music: Rene no Shouhin Nr.9 — REOL
Dimensions: 1920 × 1080 px (HD video format)
Description:
D isn’t for Dunce, D is for Funz is a minimalist animation following the letter ‘D’ as it walks rhythmically through a flat, monochrome world. Composed only of black, white, and gray tones, the piece transforms a simple typographic form into a playful, rhythmic character. Its clean motion and subtle dark humor explore how minimal design and sound can together express personality, rhythm, and joy within constraint.
D ISN’T FOR DUNCE, D IS FOR FUNZ (2024)
Medium: 2D digital animation (Adobe After Effects)
Music: Rene no Shouhin Nr.9 — REOL
Dimensions: 1920 × 1080 px (HD video format)
Description:
D isn’t for Dunce, D is for Funz is a minimalist animation following the letter ‘D’ as it walks rhythmically through a flat, monochrome world. Composed only of black, white, and gray tones, the piece transforms a simple typographic form into a playful, rhythmic character. Its clean motion and subtle dark humor explore how minimal design and sound can together express personality, rhythm, and joy within constraint.
TA Engeifude: A Dialogue Between Tradition and Modernity (2025)
Medium:
Type specimen design (Adobe Photoshop and InDesign)
Dimensions:
Box — 130 × 200 × 45 mm
Belly band — 320 × 45 mm
B6 Booklet — 125 × 176 mm
Calligraphy Sheet — 297 × 420 mm (A3)
Wooden Stamp — 35 × 35 mm
Description:
TA Engeifude reinterprets the 1997 Japanese display typeface by Tamakichi as a collectible typographic artifact. The specimen set combines traditional calligraphy with contemporary design through a black-and-white presentation that balances restraint and clarity. Pairing Engeifude with Helvetica highlights a visual dialogue between tradition and modernity. Each element—from the hand-carved “芸” wood stamp to the A3 calligraphy sheet—invites tactile engagement, transforming typography into an object of interaction, reflection, and preservation.
TA Engeifude: A Dialogue Between Tradition and Modernity (2025)
Medium:
Type specimen design (Adobe Photoshop and InDesign)
Dimensions:
Box — 130 × 200 × 45 mm
Belly band — 320 × 45 mm
B6 Booklet — 125 × 176 mm
Calligraphy Sheet — 297 × 420 mm (A3)
Wooden Stamp — 35 × 35 mm
Description:
TA Engeifude reinterprets the 1997 Japanese display typeface by Tamakichi as a collectible typographic artifact. The specimen set combines traditional calligraphy with contemporary design through a black-and-white presentation that balances restraint and clarity. Pairing Engeifude with Helvetica highlights a visual dialogue between tradition and modernity. Each element—from the hand-carved “芸” wood stamp to the A3 calligraphy sheet—invites tactile engagement, transforming typography into an object of interaction, reflection, and preservation.
After Cage: A Visual Sonata (2024)
Medium: Motion design (Adobe After Effects and TouchDesigner)
Music: Sonatas and Interludes — John Cage
Dimensions: 1920 × 1080 px (HD video format, 26 min runtime)
Description:
After Cage: A Visual Sonata reinterprets John Cage’s Sonatas and Interludes through a series of 15 animated posters. Each movement translates sound into abstract forms of shape, rhythm, and motion, transforming music into a visual score. Rather than using traditional notation, the project focuses on texture and emotion, revealing how experimental sound can be seen as much as heard—an immersive tribute to Cage’s philosophy of silence, chance, and perception.
After Cage: A Visual Sonata (2024)
Medium: Motion design (Adobe After Effects and TouchDesigner)
Music: Sonatas and Interludes — John Cage
Dimensions: 1920 × 1080 px (HD video format, 26 min runtime)
Description:
After Cage: A Visual Sonata reinterprets John Cage’s Sonatas and Interludes through a series of 15 animated posters. Each movement translates sound into abstract forms of shape, rhythm, and motion, transforming music into a visual score. Rather than using traditional notation, the project focuses on texture and emotion, revealing how experimental sound can be seen as much as heard—an immersive tribute to Cage’s philosophy of silence, chance, and perception.
I’m a graphic designer from Auckland, now based in Melbourne and studying at the University of Melbourne’s Faculty of Fine Arts and Music (VCA). My practice explores how minimal form and negative space can express rhythm, balance, and emotion. Influenced by Japanese artists such as Kōhei Sugiura and Hiroshi Sugimoto, I seek clarity and restraint in my compositions, using simplicity as a way to evoke depth. Throughout my time at VCA, my work has evolved from expressive experimentation to a refined visual language that values precision, contrast, and quiet intensity.