Rashen Bandara Wickramasinge

Motion Design

Hello, I’m Rashen Bandara, a motion design student at Swinburne University with a passion for 3D modeling and interior design. My journey began at Edith Cowan University, where I studied games and interactive design. A design project inspired me to explore animation, teaching me gaming principles, research, documentation, and interactive animations with HTML and ActionScript 5.0. At Swinburne, I’ve honed my skills in motion graphics, including projection mapping, VR videos, and cinematic filming, while expanding my expertise in 3D and character modeling.

447 Luna Apartments Interior

3D modelling project in the 3D Modeling Unit aimed to design an interior space with at least five essential pieces of furniture. This project focused on creating a harmonious and aesthetically pleasing environment.

Nike Jordan Project Mapping

In 2024, Nike’s Air Jordan brand executed an impressive projection mapping project, featuring dynamic animations of iconic shoe models and mesmerizing logo reveals. This captivating display seamlessly blended technology and artistry, highlighting the sleek designs and vibrant colors of the shoes.

Paul Rands Philosophy

The “Rands Philosophy” brochure honours designer Paul Rand, highlighting his career and iconic branding for companies like American Express, Enron, IBM, and ATLAS. It showcases his design philosophy of simplicity, functionality, and elegance, with high-quality images, insights into his creative process, and industry testimonials. This brochure is an educational resource and inspiration, celebrating Rand’s impact on modern graphic design.

Phantom

Rebranded Rolls Royce Motors’ electric vehicle, the Phantom. The new logo features a crown for success and a thunderbolt for modern technology. I used the elegant Aviano Flare typeface to reflect the brand’s values of luxury, success, elegance, and technology. The name “Phantom” evokes the spirit of success, aligning with the brand’s prestigious image.

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.