Hana Bardwell

Instagram

I am a Melbourne-based graphic designer, specialising in publication design, print design and branding. As a design graduate with a major of communication, I know my strength lies in creating compelling visual designs that are both expressive as well as diverse.

I aspire to connect with people, understand their needs and challenges, and craft designs that respond to them meaningfully.

FIX125 Social Media

A series of Instagram posts for a small Melbourne-based business called FIX125. The posts range from their logo design, photographs of their products including second-hand clothing and their hand-made jewellery, market schedule posts as well as market schedule story posts.

FIX125 Print

A print design for a small Melbourne-based business called FIX125. The design is intended to inform the audience of their up-coming markets,
a little bit about the business and a
QR code leading to their Instagram.

FIX125 Thank You Cards

A thank you card design for a small Melbourne-based business called FIX125. The design is intended to all the buyers of the business and will be handed out in person at the markets. The design involves a photoshoot of the up-cycled clothing range.

IMB (In My Bag) Magazine

A Magazine cover and back cover design for a fashion magazine brand IMB (In My Bag). The design is inspired by maxmalism design playing with compositions of typography as well as combining a fashion photography shoot.

Roku Gin Advertisement Print

An advertisement print design for Roku Gin. The mixed media in the design is prominent as the acrylic paint creates a rustic feel which compliments the logo of the brand while the different textures seen in the photographs as well as the type in the background creates dynamism within the design.

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.