Thomas Handbury

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I’m a Melbourne based graphic designer with a passion for branding and packaging. My designs have a consistent theming which use colours that work well together like contrasting, tones and tints.

When designing I like to use grids with my projects. I have an interest in tabling at artist alleys and the use of Adobe Illustrator to create my art will enhance my skills in communication design.

Trek Bicycle Chain Packaging

The packaging was a proposal for a project where Trek had required the designer to design an innovative packaging for an item that would expand their current selection of items. I chose bike chains since they didn’t stock this item yet.

Clash of Clans Puppets

Clash of Clans Puppets are from Supercell’s game Clash of Clans which is part of a project that I’m working on. I redesign each of the characters as a puppet.

Expanding Devondale’s Branding

This project is expanding upon Devondale’s current brand by introducing a flavoured milk range. The new identity is made by combining their existing brand and Devondale’s lettermark with the milk flavour in a script typeface, supported by a simplified cow brandmark. The brandmark was developed by sketching, refining and digitizing to create a clean yet illustrative style.

Perfect Fit Puzzle Packaging

Perfect Fit’s range includes three puzzle shapes; square, circular, and triangular. Having the three shapes encourages users to collect all three. The packaging also features a folded sheet listing the number of pieces such as sides, corners, and centers. It also serves as an instructional guide for assembly. The project aimed to create packaging that was engaging and enhanced the overall product experience.

Treasure Island Mini Publication

This mini publication is a proposed reboot of Treasure Island, designed to immerse readers in a world of adventure and wonder. It is packaged in a cigarette style flip-top box to resemble a treasure chest. The text has been printed on A6 paper making use of stained textures and line art illustrations to resemble the look of an old pirate map. The project has focused on creating an engaging experience that draws readers into the world of adventure and wonder.

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.