Magenta Hornsey

My interests, skills, and experiences are diverse, with a strong emphasis on graphic design, publications, photography, and design strategy. I will soon hold a double degree in Design (Communication Design) and Media and Communications (Advertising) from Swinburne, but my professional journey extends beyond design. I’ve also served as a Production Co-ordinator for a documentary on Stan and held roles as both a Marketing & Design Manager and Media & Communications Manager. My passions involve travel, the great outdoors, music, and more recently the world of video production – a skill I’m excited to bring into my repertoire in the near future. I believe good design is synonymous with effective problem-solving. It pushes boundaries, is innovative, and makes people think.

Embrace The Analogue - Campaign

The ‘always-on’ climate we now live in due to heightened technology use is leading to increased cases of digital stress and burnout. This campaign aims to encourage Queenslanders (specifically older Gen Z and young Millennials) to engage and participate in activities offline by setting boundaries, experiencing nature, finding hobbies offline, and making real connections.

City Meets Sea - Publication

City Meets Sea delves into the intricate realm of place branding, using a captivating case study of Australia’s fourth-largest tourist economy – the Gold Coast. Drawing inspiration from the vibrant world of surf magazines and culture, the aim was to artfully marry playfulness with sophistication while showcasing photographs that capture the city’s identity.

Vapes Aren't Mates

The Vapes Aren’t Mates campaign was created in August 2022, when only two vaping awareness campaigns existed in Australia. The campaign is centred around narratives from ordinary individuals, highlighting their immediate adverse encounters with vaping. This strategy was chosen based on research revealing it as the most effective way to connect with the target audience of 15-24-year-olds.

Ice Cream on The Ninch - Publication

The brief required a printed multi-page Guide on a unique aspect of local tourism. Ice Cream on The Ninch features four ice creameries along the coastal Esplanade of the Mornington Peninsula and offers directions for walking to the nearest beach to enjoy the treat. The design was inspired by the playful characteristics associated with ice cream and the beach.

RBGV Annual Report - Publication

The 32-page Annual Report report features a variety of photographs taken at the Melbourne Gardens. The aim was to use photography to capture the intricate details and textures of the plant species and present the content in an engaging and elegant manner.

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.