Gunawan .

Gunawan is pursuing a double degree in Bachelor of Business and Design, majoring in Marketing and Communication Design at Swinburne University of Technology. Specializing in branding, advertising, and illustration, Gunawan brings a unique blend of strategic business thinking and creative design to each project. He has completed a Diploma of Design, during which he worked as a freelance graphic designer in his first year, creating posters, menus, logos, and building brand identities for various clients. This early experience helped him hone his skills in translating client needs into impactful visual solutions.

Proficient in industry-standard tools such as Adobe Illustrator, Photoshop, InDesign, and Procreate, Gunawan has developed a diverse skill set, enabling him to craft compelling visual identities and effective marketing campaigns. His academic projects demonstrate his ability to apply design concepts across a variety of contexts, showcasing both creativity and versatility. When he’s not refining his latest designs, Gunawan enjoys exploring new creative techniques and drawing inspiration from different visual cultures. With a keen eye for detail and a dedication to pushing the boundaries of design, Gunawan aims to create meaningful work that resonates with audiences and drives brand success.

Joyland Festival 2023: Guide and Print Publication

A complete print design for Joyland Festival 2023, capturing the festival vibrant and creative atmosphere. The guide includes event schedules, workshop details, music performances, and merchandise highlights. The design features playful illustrations, bold typography, and a cohesive colour scheme, bringing the festival energy and community spirit to life. This project reflects my ability to create visually engaging materials that serve both functional and aesthetic purposes.

Ocean Guardians: Campaign to Combat Plastic Pollution

A campaign design proposal for Ocean Guardians, aimed at raising awareness about the impact of plastic pollution on marine life. The visual identity features a whale formed from plastic debris, symbolizing the urgent need to protect our oceans. The bold imagery and clear messaging are designed to inspire action and drive change, encouraging the public to 'Break Free from Plastic' and keep our oceans clean.

Talinka Tea Packaging Series: A Visual Journey through Flavors

Packaging design for Talinka Tea, featuring three distinct flavours: Minty Green, Berries Bliss, and Citrus Burst. Each design is inspired by natural landscapes and the essence of the respective flavours. The vibrant and dynamic illustrations aim to evoke the freshness and unique qualities of each tea, while maintaining a cohesive brand identity. This project showcases my approach to blending illustration with packaging to create visually appealing and functional designs.

Treasure Island Classic Reboot

An immersive redesign of Robert Louis Stevenson’s classic 'Treasure Island,' featuring a bespoke treasure map, a booklet, Captain Long John's letter, and a custom bellyband. This project reimagines the novel’s adventurous spirit through tactile and visually engaging elements. The aim was to create a collector’s edition that combines the nostalgia of classic literature with a modern design approach, making the experience of reading 'Treasure Island' even more interactive and captivating.

The Last Days of Detroit: Monothematic Publication Design

This publication explores the rise and fall of Detroit, focusing on its industrial boom, the influence of Motown, and the city's eventual decline. The design uses a muted color palette and gritty textures to evoke the urban decay and historical significance of the city's collapse. With a clean and structured layout, the publication guides readers through Detroit's complex narrative while maintaining visual cohesion. This project highlights my ability to convey heavy historical themes through a balanced mix of typography, imagery, and layout design.

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.