Tash Jones

Tash is a Melbourne-based graphic designer, specialising in publication design and branding. As an art school graduate and cinema studies major, Tash knows the importance of championing creative voices, and strives to help and empower storytellers to communicate their visions through her work. At the core of her practice is a deep-seated desire to connect with people on a meaningful level, to understand their needs, aspirations, and challenges, and to translate these insights into impactful design solutions.

When she is not designing, you can find Tash at the cinema, gallery openings, or knitting on the couch.

Beyond the Babadook

A hypothetical extension of "Senses of Cinema", a Melbourne-based online film journal, into the physical publication space. This book includes the spotlighted articles in their dossier of the same name, which showcase local women filmmakers who push the boundaries of the horror genre. I explored ideas of ‘the grotesque feminine’ through abstracted floral imagery, creating bug-like forms and uncanny bodily shapes to show the gory, violent and messy side of womanhood.

CRAFT Victoria Annual Report

A redesign of CRAFT Victoria’s 2022 annual report. I focused on reflecting the tenacity of the organisation through a vibrant colour palette, and employed collage-like shapes to reflect their playfulness alongside their hands-on approach to assisting creatives.

Cinema Nova Rebrand

A modernised visual identity for Cinema Nova, the largest independent cinema in the southern hemisphere, designed to encourage younger patrons to visit and make it their go-to cinema. I incorporated nostalgic imagery associated with going to the movies including a mono typeface and classic popcorn box stripes, and gave them a contemporary twist through the modern colour palette and reinterpreted applications.

‘On Being Affected’ Publication

This article by Andrew Murphie explores how we live our lives in the midst of multiple catastrophes that are taking place simultaneously, and their impact on our human emotions and processing abilities. I utilised the motif of folded pages to represent the layers of chaos that we are experiencing at any given time, and layered images to show the impact of these disruptions.

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.