Tanrak T.

Communication Design grad working across graphic design, photography, and branding, and lately been diving into motion design and UI. I also do illustration as a little side hustle! My work sits between playful experimentation and thoughtful storytelling. Whether with a layout, a paint brush, or a lens, I’m always chasing new ways to make ideas feel alive.

Blossom Hue: Artistic Floristry

Blossom Hue is a flower studio rooted in the belief that floral arrangements are not merely products, but true works of art. The rebranding reflects this vision by incorporating artistic elements as part of its visual identity, such as the golden spiral, picture frames, gallery labels, and references to historical floral paintings. Unlike traditional museum pieces, Blossom Hue offers floral masterpieces that you can appreciate, hold, and owncaptured perfectly in the tagline, "Masterpieces in Bloom."

Metamorphoses: Photography & Publication Identity

Metamorphoses is a photographic series inspired by Ovid’s Metamorphoses, exploring the connection between emotional and physical transformations. The project includes a photobook, promotional posters, merchandise, and a short motion video.

Bark Out: Live Session Identity

A playful identity for a YouTube live session channel featuring small gigs in third spaces. The logo shows a dog mid-bark with a bold exclamation mark, creating a strong, distinctive visual symbol for the brand.

From Blooms to Stones: Campaign Design

“From Blooms to Stones” aims to raise awareness about endangered plant species native to Australia, highlighting that they will soon disappear from nature if no action is taken. The strategy aims to create emotional and critical impact, inspiring conservation efforts and meaningful action.

The Sound of Supremacy: Experimental Publication

Based on Karl Spracklen's article “Nazi Punks Folk Off: Leisure, Nationalism, Cultural Identity, and the Consumption of Metal and Folk Music,” this booklet explores far-right ideologies infiltrating black metal and English folk music. The idea of ‘infiltration’ is visualized through spray paint seeping across pages, while musical scores and symbols guide the narrative. The design bridges text and image, revealing the complex ties between leisure, nationalism, and cultural identity in these genres.

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.