Sarah Styzinski

Hi, I’m Sarah. I’m an aspiring Communication Designer, Photographer and Art Director specialising in editorial design and image-making. I have always had a keen interest in photomedia— and throughout my degree have gained extensive experience across commercial, studio and creative photography. With every brief, I like to challenge myself to create considered and compelling imagery that is uniquely my own.

After Hours

This Photojournalism magazine showcases the pastimes of three unique individuals, that come to life through their cherished clothing. The series is tied together through the use of night photography, bold colours and harsh flash lighting, painting a vibrant picture of after hours hobbies.

The Clif Bar

Creative Branding Campaign for Clif, exploring the energy bars in a bold and playful way for lovers of all things adventure and outdoors. Using original photography, the project is built out by a product brochure, web design and motion graphics.

Awaken, My Love!

Vinyl design for Childish Gambino’s third studio album, celebrating fatherhood and family with the birth of the artist’s first son. The entrancing artwork aims to capture the ethereal journey of the album, paying tribute to the stylistic and thematic motifs throughout. The imagery is made up of stippling illustrations, cyanotype prints and digitally manipulated imagery resembling an ultrasound.

National Parks Victoria

Conceptual Brand Refresh for Parks Victoria, with focus on strengthening eco-tourism and creating an exciting and more meaningful user experience. Rooted in nature, the vibrant branding is supported by creative marketing, wayfinding and merchandise that aims to create relevance for young people.

The Selkie

Exploring the Scottish folklore of the Selkie through a cohesive series of photographs, with focus on themes of identity and intrinsic connection with the natural world. The original imagery is contextualised as an arthouse film, endorsed by publication design and other promotional materials.

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.