Rachel Tan

Motion Design

Meet a passionate multimedia student with a profound love for pushing the boundaries of design. Adaptable in expertise, Rachel has expanded her digital design skills while maintaining a dedicated commitment to establishing her unique aesthetic. With skills encompassing 3D design, typography, filming, and brand concept creation, she’s a versatile and creative force ready to tackle any design challenge that comes her way.

Semenggohh Wildlife Centre - Print and Publication

This is print publication of Semenggoh Wildlife Centre, a nature reserve
and orangutan rehabilitation center located in Sarawak, Malaysia. It aims to promote Semenggoh Wildlife Centre as a tourism spot in Kuching.

Kupu, The Heartrenderer - 3D Character Modelling

Introducing a captivating 3D character deeply rooted in the rich cultural tapestry of Borneo’s Melanau heritage. This anthropomorphic character seamlessly melds the human and animal worlds, embodying the essence of the Melanau people’s connection
to nature.

Massimo Vignelli - Typography Trifold Brochure

A trifold brochure that talks about designer Massimo Vignelli and how he created his iconic work that lasts until today. This project explores the duotone in typography.

Kupi, a Dayak Cafe - Brand and Identity

This project is to built a brand concept from scratch. Intoducing Kupi, a Kuching local based cafe that highlight Sarawak coffee and the tradition of Dayak culture in coffee.

Smooth - Visual Communication

Presenting a project that revolves around the creative exploration of a selected fruit depicted in three distinct styles. A singular design chosen as the embodiment of the concept. This final composition was further dissected and reimagined to accentuate the core message, with the term “smooth” to effectively communicate the design’s essence.

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.