Lachlan Brain

Lachie Brain’s design journey began back in Year 8 Viscom, learning the eight elements and principles, leading him now to Swinburne University, where he’ll graduate in 2024 with a Bachelor of Design, majoring in Communication Design. Throughout his studies, he’s gained hands-on industry experience, including placing third in the Re:Act Pedestrian Campaign competition, a standout achievement against all teams across the university. As well, creating well received designs for friends, including musical artwork and album covers.

Lachie’s design value is simple, create visually captivating work that pulls readers and consumers into new worlds, offering fresh perspectives on various topics. He’s driven by a commitment to originality, always striving for designs that feel new, exciting, and originality. His ambition is to makes his own path in his career, rather than following someone else’s.

Outside the design world, Lachie’s laid-back nature shines through. When he’s not drawing, he enjoys spending time with friends, whether it’s a night out, a basketball game, or just going on an adventure. For Lachie, going on quest with friends, brings out as much joy as his creative work.

Dystopian Newspaper "On Being Affected"

Redesigning the article "On Being Affected" into a dystopian newspaper, enhances its readability while aligning with the emotions and messages of the article. It tackles critical issues like climate change, government corruption, AI takeover, tech addiction, and privacy invasion. The dystopian newspaper format immerses readers in a future where people can no longer think for themselves, where "Big Brother" controls everything, and society decays under climate crisis.

The design gives a tangible glimpse of what could happen if we fail to act. Black and white visuals create a disturbing, eerie atmosphere, symbolising societal regression, where even colour printing has become obsolete. This document serves as a stark warning, portraying a world at its worst.

JID Forever and Ever

JID Forever an Ever is a 33-page publication that dives deep into the lyrical meanings and messages across JID's three solo studio albums. Presented as an art book, and made for the intention of a limited collectable release, it features striking graffiti photography that visually captures the essence of JID’s music. The layered design and layout pull readers into the atmosphere of Atlanta's streets, the place JID grew up in and continues to bring to life in his raps. With imagery, information and easer eggs throughout that would be engaging to all JID fans.

Lets Start Here: Album Cover Redesign

Lil Yachty, known for his vibrant energy, steps into psychedelic rock with his fifth album, Let's Start Here. This project explores resilience, love, and growth, marking a new phase in his career.

The album dives into Yachty's personal life, navigating celebrity culture and addressing struggles with failure, loneliness, and his search for love. My cover design captures the album's experimental, psychedelic vibe, depicting an empty room filled with flowers and eyeballs, capturing the dreamy landscape painted by Yachty throughout the album. The eyeballs reflect Yachty’s self-doubt and nightmares, while the flowers symbolize his happiness and desire for love, a theme I carried through to the back and inside covers

Re:Act campaign “Could you survive an impact”

Road accidents can happen to anyone when they aren’t fully aware of their surroundings. Many pedestrians don’t realize that using a phone is a significant risk, not only while driving but also when walking near roads. Even a two-second distraction from a phone can increase the risk of harm by 80%.

Re:act approached our university, challenging us to create a compelling campaign to connect with younger audiences. In our team, I contributed by organizing tasks and assisting with design ideas and elements. Together, we developed the campaign "Could You Survive an Impact," which earned third place among all the university submissions.

Würzburg Witch Trials: Exhibition

This exhibition uncovers a lesser-known story from Würzburg, Germany, during Europe’s witch hysteria. While many are aware of the Salem trials, few know the tragedy that unfolded in this quiet town, where fear led to the mass execution of thousands.

The exhibition traces this descent, starting with a woman's illness that sparked accusations of witchcraft, and shows how paranoia spiralled out of control. It uses clear information, striking visuals, and interactive elements to immerse visitors in the fear of the time, highlighting how unchecked power and fear devastated the community. Bold design choices create a compelling experience that brings Würzburg's dark past to life.

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.