Anna Afzal-Gould

Communication Design

I am a multidisciplinary designer and visual artist. My mission is to leverage my skills in visual arts to create powerful imagery that captivates audiences. My strengths are brand design, campaign strategy and illustration. I also enjoy publication design.

I love to experiment with new technologies to push creative boundaries such as programming, 3D software and Augmented Reality, and then implement the results in my design projects to show unique outcomes.

Superficial Intelligence

This publication was designed to provide excerpts from articles, websites and books to express the impact of Artificial Intelligence on the creative industry. Using infographics and engaging imagery that had been appropriately glitched in the programming software Processing, this publication presented digestible information to stakeholders such as creatives, academics and computer programmers.

Creative Juices Art Bar

Designed with young Millennials and Gen-Z in mind, this new brand identity aimed to use vibrancy and rich colours to make the business stand out amongst competitors. Deliverables included brand guidelines and a number of print and digital touchpoints.

Lives Not Livestock

This was a campaign designed to motivate individuals to embrace a plant-based/vegan lifestyle with a primary focus on animal welfare. Through awareness raising, education and support strategies, the campaign goal is to inspire individuals to make informed, cruelty-free changes in their lifestyle. This was executed through a number of digital and print touchpoints.

Fever 333

This was a special edition redesign of a punk rock band’s album, using analogue art techniques. This depicted the layering of their sound: the analogue and digital, with the strokes and interruptions in the paint for added coarseness. It represents the dynamic sound present in the album, conveying the various emotions in their songs, and their connection to the grassroots movement.

Royal Botanic Gardens Victoria

This publication design for the RBGV Annual Report was created with the theme of ‘whimsical wonders’ in mind. Digital illustrations of colourful flora were carefully composed around the contents of the report, much like a storybook to take the reader on a journey through the gardens.

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.