Charlie Boyle-Bryant

Hi, I’m Charlie, a Melbourne-based creative graduating with a Bachelor of Communication Design (Honours). My practice combines social and environmental awareness with a thoughtful, pragmatic approach to technology in the evolving age of AI and other technologies. I believe designers carry strong ethical responsibilities, and that these values should play a key role in the future direction of the industry.

I have gained a wide range of industry experience throughout my studies and professional journey. From 2022 to 2023, I completed a four-month placement at SomoS Arts in Berlin through Swinburne Abroad and ArtBound Initiative, where I developed promotional material and collaborated with resident artists. More recently, I undertook a year-long placement with Swinburne’s Design Bureau (2024–2025), working under the guidance of Alex Tyers, Jacqui Klass, Adam Dean Smith, Jullian Pang, and Matt Blythman. During this time, I contributed to projects for the Vice Chancellor’s office, along with various research, start-up, and client-based initiatives, consistently delivering creative outcomes within practical constraints.

Outside of my academic work, I run my freelance practice, ThreeDog Studio. Through this venture, I have collaborated with clients such as Playgro Australia on packaging design for their ‘Fun First’ range, as well as several smaller businesses and community organisations.

I am eager to continue growing within the design industry, bringing my own human perspective to a field that is continually reshaped by technology.

'Open House Melbourne 2024' Studio Payne Brief

Quan Payne, director of Studio Payne, requested an abstract resolution to the Open House Melbourne 2024 brief. In response to this, I envisioned an idea of windows, doorways and lighting guiding patrons between locations. As the event takes place in the winter months, the abstract shapes and lanterns beckon patrons from the dark into light, vibrant spaces.

'Raw' Padel

Raw is an innovative Padel company seeking to capitalise on the expansion of the exciting European racket sport to a broader Western audience. With consumers identified in the USA, Canada, Australia and New Zealand, the brand identity sought to disrupt the visual landscape put in place by the hegemons of the industry, who rose to dominance in older sports like tennis. The Padel faces are canvases that consumers can express their 'raw' emotions with, envisioned being unique to different play styles.

Ausoniq Echocardiography

Ausoniq is an exciting research project that aims to bridge the gap between medical resources in cities and remote communities in Australia. This is envisioned currently through robotics, allowing echocardiographers to use platforms in their offices to conduct ultrasounds on the hearts of patients wherever a robotic rig may be set up. The mark and branding are professional, pharmaceutical and futuristic, offering excitement where possible, and remaining neutral in medical settings.

Gaeilge: International Society of Typographic Designers Submission

Gaeilge is a typographic exploration of the history of the Irish language. It is largely written by myself, with text from Jeanne Buckley and Sacha Bryant. Being of Irish ancestry, the question of what Irish identity means in a modern context intrigued me. As such, the literature surrounding Irish language revival and the efforts made to reinvent Celtic identity following Irish independence fulfilled the response to a brief that asked 'what is a communication system that has impacted communities, the ways they interact, and how they have evolved?'. Pink is the exact opposite of the green, which is often associated with stereotypical Irish motifs. The publication ultimately asks, what is Irish identity to the youth, who were supposed to be made fluent in the schooling system, but found the most engagement through countercultural social movements?

Energy Media Cultures

A digital solution to the media research department's need for a dynamic, exciting website. The website is an ongoing project, incorporating motion graphics that represent nuclear, hydro, fossil fuel, wind and generic energy production methods. Energy Media Cultures is a contemporary take on how media affects the social landscape in Australia, referencing major initiatives like the Snowy Hydro project.

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.