Ashleigh Hoffmann

Communication Design

Hi, my name is Ashleigh Hoffmann!

I am a graphic designer who has graduated from Swinburne University. I specialise in branding, publication, and illustration design. I have such a love and passion for meeting new people and working with them to create a project that the client and myself are happy about putting into the world. I enjoy creating designs that spark enjoyment when interacted with and in general want to make the world a more delightful place to indulge in. I have developed other skills such as sketching and photography throughout my degree, and am always keen to continue learning more skills in different programs and areas of design. When not designing, you'll find me at a concert, going to pilates, playing some tennis, or going on walks with my dog. Check out some of my work on my Instagram page or website to learn more about me and what I do!

Wo-Menstruation

Wo-Menstrution is a campaign created to help bring awareness to women who struggle silently with their periods. Although periods are a blessing for women to be able to create life, they can badly affect their own. This campaign was designed to visually gain attention from the general public, and make periods not such a taboo conversation while cracking a few puns. A period tracker/ advice app was designed, along with a support website for women seeking any medical advice.

State Library Victoria

This publication was created for the State Library of Victoria to display its 2023 annual report information. Named "Creatively creating timeless connections". The colours, shapes, and characters were designed to feel as though you are experiencing the happy emotions that people feel when walking into the library building and resembling the connections they may make. The word ‘timeless’ refers to how the library is forever timeless in its architectural features and how it preserves art within a few exhibition rooms in the building.

RusH Plumbing

RusH Plumbing is a small business run by a man called Russell Hoffmann. The name was created based on Rus H put together, making the word 'rush', as he 'rushes' towards the job site. He has owned this business since he lived in South Africa. After migrating Russell got the business name and phone number put onto his van, but after 20 years, he wanted a fresh

re-brand with an actual logo and with something a bit more modern and eye-catching on his van. A logo was created for him, along with an overall identity and colour palette.

Gummy Vitamins

A+ Health is an imaginary client created for a university project, where there was a restriction to a two-colour palette. The product is vitamin gummy bears, which come in different forms depending on the vitamin. Three different packages were designed, showing the personality of each bear and clear information on what is to be purchased. The name stems from AH Ashleigh Hoffmann's initials and A+ usually means the best of the best. Therefore A+ Health gummies were created!

Virtually Nothing

Virtually Nothing is a publication designed in an Anaglyph style. This publication was made using the text from an article by Andy Miah, called "Virtually nothing: re-evaluating the significance of cyberspace". Once opening the publication, the viewer is faced with an introduction sentence that isn't legible unless you take out the two slips of coloured see-through plastic rectangles and place them over the writing to read it. Those coloured slips are then needed throughout little parts of future pages. This style makes the publication enjoyable to read and makes the heavy text not so overwhelming and in a way fun to decrypt. The Anaglyph style was chosen, based on the message of 'decoding' in the article, presenting how much cyberspace is changing and everything is harder to wrap our heads around.

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.