Naomi Ngo

Hi, I’m Naomi Ngo — a designer with a passion for storytelling, strategy, and sleek visual identities. I love bringing ideas to life through bold yet thoughtful design that connects and communicates meaning. With a Bachelor of Design in Visual Communication, I’ve built a strong foundation across Branding & Identity, Brand Strategy, Graphic Design, and Digital Marketing.

I’m all about crafting visuals with purpose — not just making things look good, but making them feel right. Whether it’s branding, digital design, or creative campaigns, I aim to blend strategy with style to create work that resonates and inspires.

Tokyo Tea

This project involves designing a cohesive packaging design set for Tokyo Tea, a Japanese tea brand that embodies authenticity, craftsmanship, and cultural heritage. The collection features three premium tea varieties — Matcha, Gyokuro, and Hojicha — each carefully represented through a design that reflects its unique character, flavour profile, and origins. Every detail, from colour palette to typography and form, was considered to evoke a sense of calm, purity, and timeless elegance. Each box was designed to visually communicate the individuality of its tea while maintaining a cohesive system that ties the collection together as one brand identity.

Eterna Fae

This project presents a A5 photo magazine for Eterna Fae, a conceptual makeup brand inspired by modern fairy aesthetics. The goal was to capture the brand’s ethereal and whimsical essence through photography, visual storytelling, and design. Building on this theme, I developed a cohesive range of branded collaterals—including promotional posters, makeup packaging, and a gift box design—each reflecting the enchanting, fairy-inspired identity. The project explores the intersection of fantasy and beauty, uniting elegance, femininity, and imagination into a cohesive visual narrative that brings the brand’s magical world to life.

1Q84

This project presents a cohesive visual reinterpretation of Haruki Murakami’s novel 1Q84. The aim was to reimagine the book’s narratives through a contemporary design approach, producing a unified set of visual outcomes, including a redesigned book cover, a series of promotional posters, and a movie poster adaptation. Each piece was developed using image manipulation and digital composition in Adobe Photoshop, with the intent to visually capture the novel’s surreal atmosphere, dual realities, and underlying sense of mystery.

Soleilé

This project showcases the rebranding of exisiting client, Soleilé Swimwear, a sustainable and ethically made swimwear brand. The goal was to reposition Soleilé with a refreshed identity reflecting its values of quality, sustainability, and timeless design. The rebrand includes a new logo, cohesive marketing materials such as posters and social media content, and engaging advertising campaigns to strengthen brand recognition and audience connection. Additional touchpoints, including branded merchandise, were introduced to extend the brand experience and support growth in the competitive fashion market.

1984

This project reimagines George Orwell’s 1984 through a modern visual campaign, aiming to reignite interest in the story and reinterpret its enduring themes of surveillance, control, and individual freedom for today’s audience. The campaign features a conceptual A5 photobook and large-scale street posters, each designed to capture the novel’s psychological tension, duality, and haunting atmosphere. By translating Orwell’s dystopian world into compelling visual narratives, the project bridges literature and design, presenting 1984 as a visually immersive and culturally relevant experience that encourages reflection on the parallels between Orwell’s vision and the modern digital age.

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.