Jendaya Bergmeier

I am Jendaya; an enthusiastic and hardworking Communication Designer, with an eagerness to learn more and improve in all aspects of work and life.

My aim as a designer is to bring clarity of concepts that matter, and to design for positive change. I define what matters as what is good for people, and good for the earth. At the heart of what I do is a passion to help people; where the people I want to help are for cause and not for profit.

I am driven by curiosity - asking questions of what is there to find better solutions, solving problems creatively and using conceptual thinking. With interests and skills in publication design, image-making and layout design, I love making work that is both visually pleasing and communicates well.

In my spare time, I enjoy being with my friends and family, listening to and creating music, reading and spending time outdoors.

A Guide To Milk Bars

A unique take on a tourist guide publication, 'A Guide to Milk Bars' is an ode to the old-style milk bars that were a part of so many Australians childhoods. Unique to Australia, this engaging and quirky concept appeals to tourists.
The purpose of the publication is to serve as a testament to what once was - the legacy of the milk bar. This influenced the photography style and black-and-white image edits, aiming to evoke a sense of nostalgia while maintaining a modern appeal.

Quietly Loud

An imaginative and expressive publication for the text: "Quiet Activism and the New Amateur" (Fiona Hackney), Quietly Loud uses two type families and a flexible grid system to effectively communicate the text's themes. These themes include craft as a means to be quietly active, craft as a domestic skill and the emergence of a new energy to re-engage with craft. The outcome embodies these themes in its A3 concertina folding format, designed to create a hand-crafted, tactile experience for the reader. Quietly Loud reflects the designer's interpretation of the authors message, where the focal points in the imagery reinforce concepts of uprising and activism. The typographic composition and graphic elements are strategically used to unify the document as it unfolds.

Parallel Worlds

Capturing the concept of 'Parallel Worlds' in the novel 'The Circle' (by Dave Eggars), the new book cover uses photomontage to express futurism and speculative fiction. The inception of the cover image alludes to another reality, supporting the book's narrative of a surveillance society and the obfuscation of truth. The composition draws the eye to texture and rich tones in the centre, where the viewer then notices the various figures in the image, leaving them with the thought of: what is the truth?

Conscious Clothes Campaign

The 'Conscious Clothes' campaign blends strategy with aesthetics - an educational campaign for the CRI (Clean Recycling Initiative) aimed at educating women (aged 18-30) as the main contributors to fast fashion, on the harm of textile waste.
The social media campaign uses a distinct and creative approach to achieve this. The imagery, colours and textures are natural, appealing to sustainability-minded people. With an interactive and actionable hashtag, along with posters and videos, the campaign successfully raises awareness of the issues and directs viewers to the Clean Recycling Initiative's solution.

Ranges TEC Re-brand and Educational Publication

A rebrand and educational publication for Ranges TEC, an applied learning trade school for students in years 10-12.
In order to increase enrolments and spread awareness of applied learning pathways,this publication embodies the new look and feel of Ranges TEC, informing people of the pathways that Ranges TEC has. The solution is a modern brand mark and vibrant colour scheme that is engaging, attractive and stands out in the competitor context.

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.