Richard Tao

Communication Design

My name is Richard Tao, and I am a graphic designer, specialising in my love and passion for publication design. I am currently completing my Bachelor of Design at Swinburne University of Technology, majoring in Communication Design and minoring in Creative Writing. My first accomplishment was not publication design, but rather branding, where I designed the logo and labels for a small boutique business called Auntie Kit’s Chilli Oil. Unfortunately, due to the effects of COVID-19, Auntie Kit’s has since closed, and even to this day, I still yearn the unique taste of their special chilli oil.

However, throughout the journey of my life of design experiences, educational studies, and a real-life client, I realised my passion was not in branding and logo design, but rather in publication. I deeply admired the co-existence of graphics and words, how they work with one another to communicate beyond the expected. I relished playing with different hierarchies, as well as choosing the perfect font that would be suitable for its chosen design.

When I am not working, I write my heart out! I absolutely adore writing short cosmic horror fiction, whilst occasionally grinding away at a fantasy novel, constantly switching between the two. I would often attempt, and I mean “attempt”, to draw the characters in my stories. Sadly, that has yet to yield anything valuable due, no thanks to my immense lack of skill at drawing people, especially in the hand department. One of my reasons for enjoying publication design was sparked by my love for writing stories. One could say this was the catalyst for my long-delayed epiphany.

Terror of Three

Classical Reboot: The Count of Monte Cristo

Frenetic Horror

Three Packs: The Euthymic Collection

Stack Your Day!

Acknowledgement of Country

The School of Design and Architecture respectfully acknowledges the Wurundjeri peoples of the Kulin Nation as the Traditional Owners and knowledge-keepers of the lands, waters and sky that surround us, where we work, learn, create, communicate and make place. We recognise that sovereignty has never been ceded and this always was and will always be Wurundjeri Country. We pay our respects to Elders past, present and to all Aboriginal and Torres Strait Islander people who continue to make a better world through design.

We extend our acknowledgement to the Aboriginal and Torres Strait Islander staff, students, alumni, real-life clients, and knowledge keepers, who have contributed to our own education diversity and growth. We will continue to ensure that staff and students respectfully honour ancestral connection to Country and Place in everything that they do.

We are dedicated to the notion of design to make a better world and we acknowledge that making tools, shaping place, sharing stories, making meaning, wayfinding and collaborating have long been and continue to be both central and integral to First Peoples' cultures. We recognize that Aboriginal and Torres Strait Islander Peoples’ cultural contributions have continued relevance to design practice and commit to: reconciling ancestries of design and contemporary practice as well as pursuing culturally and professionally appropriate ways to engage with a diverse population of colleagues, industries and clients. In a time of treaty-making and voice we understand that there are overlaps between caring for Country and the sustainable production of goods, services, experiences, products and buildings.

Guided by the principles of respect, reconciliation, and reciprocity we undertake to indigenising and decolonising design practice by dismantling colonial structures and challenging biases that have marginalised Indigenous voices and design.

As students of SoDA you will be given opportunities to both engage with and educate yourself in Indigenous creative practices and cultural protocols through a lens of inclusivity, diversity, respect, mutual understanding, inter-cultural dialogue in all aspects of design practice. Indigenous people have been telling stories, making tools, and connecting to Country through visual media, placemaking and place marking for more than 60,000 years and these practices are part of an ongoing, evolving and live tradition.