Hayley Oldfield

Communication Design (Honours)

I’m Hayley Oldfield, a graphic designer driven by a passion for creativity and visual exploration. I recently completed my Bachelor of Communication Design (Honours), where I developed strong skills in client communication, design processes, and creating impactful designs. During my studies, I had the opportunity to work on a variety of projects, from clean branding to expressive publications, allowing my passions for branding, publication, and illustration design to truly come to life.

Manatzura

Manatzura is an environmental company passionate about creating a better world by developing green technology to solve environmental problems. To this end, Manatzura required a brand identity design that included various logos, typography, brand colours, collateral designs, and a brand guidelines document.

Uniink

Uniink is an inclusive tattoo studio that values high-quality designs, safe environments, and great attention to detail. Uniink required the design of its brand identity and additional collateral designs including studio signage, business cards, website, and more.

Bloom'n Mind

Bloom’n Mind is a nature connection tool kit that encourages Australians to create their own nature-inspired designs for their homes to promote their well-being. The tool kit consists of a magazine, a large-scale poster, stickers, inspirational cards, and a stencil card activity.

Detroit's Beautiful Horrible Decline

Detroit’s Beautiful Horrible Decline is an experimental publication design that explores a tight grid structure to convey the chaotic downfall of Detroit from 1947-1967.

Rich Embrace (re.)

Rich Embrace, or re. is an inclusive coffee and cafè company that embraces all coffee cultures and experiences. Re. creates a soft, friendly and personal brand identity through its rounded typography and hand-drawn brand patterns.

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.