Alanis Viera

Hello, I’m Alanis, I would describe myself as creative and passionate about the art of design. I aim to collaborate with others to encourage myself to improve my design skills and to explore other design mediums. Majoring in Communication design has allowed me to focus my skills on branding, photography, publication and print and packaging design.

In my personal time, I like to explore parts of Melbourne with my friends, such as galleries and exciting restaurants or have downtime with family, and I enjoy drawing in my free time.

Lueur Re-branding

The brief involved re-designing the brand identity for Lueur, a small business that sells candles and skincare products. The process began with re-designing the original logotype, three candle labels and create advertisement posters. The new brand identity has shifted to a modern design that portrays luxury and calmness and emulates the brand’s central theme, glow.

Farm Hand Adverts

Farm Hand is an Australian wine brand that focuses on brewing organic wine. This project aimed to photograph higher advertising for the brand using two posters. To maintain their organic narrative, I used a rustic aesthetic with warm and welcoming tones, making the wine appear more delectable.

Plant Addict Magazine Cover

Tasked with photographing and creating an A4 food magazine cover, based on plant-based food. Capturing a rustic theme combined with warm tones to create an image that reflects ‘homey’ food. The title ‘Plant addict’ and the slogan ‘The better alternative’ was self-created using Procreate and was intended to be cohesive with the image.

1Q84 Book Cover Re-Design & Film Poster

1Q84 is a novel by Japanese author Haruki Murakami. The project focused on photography and photo manipulation in Photoshop to create unique images and graphics. The final designs reflect important symbols and elements within the story and portray the theme of ‘Parallel Worlds’.

The Grateful Crane Publication, Collateral

Tasked with creating a photography series based on a fantasy, myth or legend, which will be a base to design for an event. The deliverables were to create a magazine and merchandise for an event. The final designs advertise a ballet production based on the Japanese folktale The Grateful Crane, the designs are sophisticated, flowy, simplistic and elegant.

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.