A coastal identity built on the idea that good things should be simple and fun.

The Bronte Road Fish brand is anchored in a balance of structure and looseness, pairing confident, considered design with the relaxed charm of a neighbourhood fish shop. Hand‑drawn type and illustrated hero elements introduced a sense of effortlessness, echoing the simplicity of the menu and the venue’s easygoing personality.

Cobalt blue inspired by the local Blue Groper fish brings a fresh, ocean‑driven accent, while a touch of yellow ties the identity back to the venue’s awning, grounding the system in place. The result is nostalgic, simple and coastal with a clean, modern twist.

I created a full identity suite spanning brandmark, packaging, varietal stickers, greaseproof paper, custom cocktail tins, website design, signage and digital menus, and supported the digital agency, Buffet, through launch. Together, these elements form a cohesive, character‑rich brand that feels unmistakably Bronte Road.

Visit the website at www.bronteroadfish.com

Photography by Nikki To / Buffet Digital

The fundraising campaign My Place centred around a web gallery with e-commerce capabilities, showcasing artworks contributed by the Queenwood School community.

A transformative initiative aimed at supporting Macleay Vocational College, Kempsey during the challenges posed by COVID-19 lockdowns.

My primary focus was to align the project with MVC's needs, directing proceeds towards funding art supplies, empowering students to generate income through their creative talents.

I crafted a cohesive visual identity for the campaign, employing a vibrant colour palette and striking imagery to highlight the uniqueness of each artwork.

Postcard packs and pastels were sent out to the entire Queenwood student and staff database, to instruct and inform of the initiative. Recipients were instructed to create artworks on provided cards, using the My Place theme as inspiration.

Artworks were posted back to School, where they were photographed and catalogued for the online gallery.

Emphasising a clean, intuitive user experience, I developed the web gallery and e-commerce website for My Place.

Through targeted digital marketing campaigns and strategic partnerships, we successfully raised over $6,000 in funds for MVC, exceeding our initial goals and significantly impacting the lives of students and the broader community.

The 2025 Gala Lunch was created to raise funds for St Catherine’s Indigenous Scholarship Program, with guest speaker Cathy Freeman AOM. I developed a dynamic, flexible wordmark and graphic system that could scale across print, digital and event environments. Supporting graphic devices were hand‑drawn and intentionally loose to introduce a warm, human quality that reflected community, generosity and connection.

Bright colours — yellow, orange, pink and the School’s navy — were chosen to convey urgency and optimism, moving away from the earthy palettes typically associated with Indigenous events. The system extended across digital promotion, invitations, a sponsorship guide, the donation website and EDMs, ensuring a cohesive multi‑channel presence.

For the event itself, I designed animated screens, data‑driven infographics, quotes, wayfinding, signage and donation materials. Tablescapes, menus and on‑the‑day collateral completed the experience. The campaign helped raise $187,000 in one day, a transformational result for the Scholarship Fund.

Photography by Grace Kyo.

For the Jane Barker Hall Capital Campaign, I developed a visual identity that reimagined the building’s architectural legacy for its transformation into the new Senior School Library at St Catherine’s School, Waverley.

The brand mark draws directly from the hall’s accordion‑shaped roofline. Its zig‑zag form echoing both the original timber panelling and the rhythmic pulse behind the campaign’s message: The heart of the school will beat again. Composed of radiating linework, the mark symbolises renewal, optimism and a new dawn for the space.

The identity extended into a custom linen‑bound donor book with interscrew binding, a concertina‑fold invitation suite for donor events and a cohesive suite of digital and print assets. I also designed the donation landing page, EDMs, gala collateral, social content and video art direction, ensuring the campaign’s story was expressed with consistency, warmth and purpose across every touchpoint.

Printing by Carbon8

Taldumande Youth Services supports young people experiencing homelessness, crisis and trauma. The challenge was to create fundraising communications that would encourage generosity without defining young people by their circumstances, balancing emotional impact with dignity and respect.

Rather than focusing on hardship, the creative direction centred on the outcomes Taldumande helps make possible. Every element was designed to reinforce connection, opportunity and the sense of belonging that sits at the heart of the organisation's mission.

I’d created a flexible campaign identity across invitations, advertising, presentation screens and printed collateral. The system was designed to create a cohesive experience from the first invitation through to the event itself, connecting supporters with the impact of their contribution.

The work has evolved into a trusted multi-year partnership, helping establish a consistent and recognisable fundraising experience year after year. Through strategic storytelling and design, the campaign strengthened donor connection while remaining authentic to Taldumande's mission and values.

Working with Taldumande reinforced my belief that effective fundraising communications are not about telling people what to think or feel. They are about creating space for connection. When stories are told with empathy, clarity and respect, they create stronger relationships and inspire meaningful action.

Excuse My French wines are targeted towards women aged 25-35.

My aim was to evoke a vintage European liquor aesthetic, along with motifs which were undeniably French.

To create the illustrated brandmark, French motifs were explored and a single, refined character with Breton stripes and a beret became the focus.

The result is a bold, memorable and quirky label and brand asset.

Designed at Bullet Studios.

Jimmy’s Falafel is a little piece of the Middle East, right in Sydney’s CBD.

The brand was developed over many months, working closely with the executive chefs, stylists, architects and owners at Merivale.

The brandmark was developed, referencing vintage street signage in Beirut, with supporting type and imagery (such as the vintage movie poster illustration of Jimmy himself) influenced by 1970s pop culture from Lebanon, Israel and beyond.

Several touch points were considered, such as: print menus, packaging, lightbox and neon signage, social media animations, uniforms, original merchandise (such as custom enamel pins and mints) and a digital ordering kiosk – where all takeaway food, drink and condiments were prepared, photographed and featured.

Kiosk Photography by Richard Mortimer.

Poster Illustration by Harry Slaghekke.

Venue & Staff photography by Kitti Gould.

Copywriting by Tahlia Calvisi.

As Design Manager at Queenwood School for Girls I shaped the visual direction of key communications that connected the school with its community. My work combined art direction, editorial design, brand development and illustration to create clear and engaging storytelling across print and digital touchpoints.

A major focus was Q News. I led the creative concept, curated photography and designed each issue to feel cohesive and purposeful. The publication highlighted student achievements and school culture through thoughtful layout, refined typography and a strong editorial rhythm that supported the school’s voice.

I also evolved the brand presence for the Drama department. Each production required a distinct visual identity, so I developed a flexible system that used expressive illustration, bold colour and theatrical motifs to capture the character of every show. This helped build anticipation within the school community and strengthened the department’s creative profile.

My illustration practice supported a range of publications, adding warmth and personality to school stories. I also created a custom booklet for incoming Kindergarten students that introduced them to the school environment in a friendly and reassuring way. Through simple language, approachable visuals and clear sequencing, the booklet helped families prepare for an important transition.

Original Creative Direction & Brand Strategy by Angela McCarthy.

See Sound is Merivale’s free live music property, partnering with beer brand, Furphy. The property incorporates stylised motifs that convey movement and rhythm, echoing the dynamic nature of live music.

To navigate Furphy's brand limitations effectively, I proposed textured backgrounds and striking feature colours to complement their hero navy blue.  

These elements not only captured the essence of See Sound but also resonated with Furphy's brand ethos, ensuring alignment and authenticity in all promotional materials.

For in-venue promotion, I created signage and point-of-sale tools that featured these motifs to create dynamic visuals that captured attention and conveyed key event details succinctly, in line with both the brand's tone and digital engagement strategies.

Across multiple touchpoints, the Furphy blue and logo were present – aligning them with their intended audiences and the resurgence of live music in Sydney.

Every year, the Green Building Council of Australia produce a magazine called ‘Evolution’. Part annual report, part editorial, it features articles, reports and content on the year that was.

I was asked to provide the cover & internal illustrations, as well as typographic treatments and handwritten quotes throughout.

Design by Wingrove Design.

Music Victoria were looking to update their brandmark to something simple and strong that represented all genres of music. The previous logo was not legible when reduced in size, so a second logo was designed and used, giving the organisation an inconsistent look.

The new logo needed to retain the red, black & white of the current logo, and also work alongside the VMDO logo. Another consideration was that key players in Victorian cultural organisations have notably explored the use of ‘M’ and ‘V’, and I needed to develop a unique way of representing the organisation.

My approach was to create the ‘M’ and ‘V’ by using ‘Fast Forward’ and ‘Play’ symbols. This iconography represents Music Victoria’s contribution to music’s forward movement in order to keep it alive and well. Simple, clear typography then supports the brandmark.

The brandmark was developed for use across templates for workshops, display signage for events and presentations, and featured on many of the organisations new placements and sponsorships, including the annual Music Victoria Awards.

I’d developed the brand and signage for pop-up Cambodian Street Food restaurant, Kingdom Of Rice. The venue was set up as a temporary eatery within The Tennyson Hotel, Mascot, and was a collaboration between ACME and Merivale.

The brand evoked a mood inspired by vintage Cambodian pop culture, injecting the fun and vibrancy felt while perusing the street markets and eateries of Pnhom Penh. Working alongside the chefs and styling team, I headed up a small team of creatives to develop and execute the brand – a clash of colour, type and texture.

Photography by Nik To & Dimitri Tricolas.

Sydney band White City write songs of suburban Australia, loves found and lives lost. The War Stories artwork portrayed the collection of these stories as souvenirs – represented by collector spoons.

I had collected the spoons from several 2nd hand stores and photographed them. The use of natural lightning and crushed fabric textures allowed me to create an earthiness to the imagery that represents the raw, honest sound of the music.

The main album cover and promotional collateral feature varying layouts of all spoons. The 2 single releases featured 1 and 2 spoons only (for the first & second part of the War Stories tale).

Band photography by Bear Deer Fox.

The Spring Racing Carnival is one of the biggest events in the hospitality year. The “Play It Bold” campaign aims to shine a light on what Merivale do best: focus on the guest. It highlights the guests style, energy & individuality on the day through colour, movement and playful silhouettes. We champion what makes them unique, and the potential for them to show their true colours in our venues, however they choose. The campaign invites guests, old and new, to embark on an experience that truly allows them to be.

The result was a vivid and colourful campaign that captured the celebratory nature of the carnival and was also able to tie in with theming of the venues and spaces.

With a visual direction and photoshoot expertly handled by the creative team and contractors, I guided and assisted from the sidelines, working on motion design, robust briefs for freelancers and preparing large format signage across George Street in Sydney.

Photography by Hannah Scott-Stevenson
Styling by Sara Smith
H&M by Jaclyn Hnitko
Art Direction by Julia Suter
Copywriting by Tahlia Calvisi

This project began as a deeply personal challenge: designing my own wedding invitations, which meant working for one of the toughest clients imaginable: myself. I collaborated closely with the talented team at Paper Elephant Letterpress to create a truly one‑of‑a‑kind piece that pushed both concept and craft. Inspired by the idea of a nesting doll, the invitation was engineered as a self‑contained, multi‑layered object, with each reveal uncovering another detail of the day. Custom die formes, bespoke type and supporting illustrations were developed to bring the concept to life. The final piece features five individual layers, all hand‑glued and assembled. It was an intense labour of love that demanded meticulous pre‑press planning, technical problem‑solving, and a deep understanding of stock, ink coverage and glue behaviour. Hidden within the structure sits a return RSVP envelope, completing the experience.

This project represents a blend of art direction, illustration, typography, production craft and collaboration, resulting in a tactile keepsake that reflects both personal storytelling and technical ambition.

Alongside some pretty heavy hitters in the creative community, I was asked to contribute to Angela McCarthy’s ‘Community Of Characters’ poster design for San Francisco Design Week 2019. The theme was CommUNITY.

I’m a musician, as well as an illustrator and designer. The piano was the very first instrument I learnt to play, introducing me to the world of music. The illustration shows the ‘E’ note being played on a piano. E is the note that I hear in my head, in order to help me tune instruments and pitch.

Poster design by Angela McCarthy.

To learn more about the project, read more here.

2019 AGDA AWARD RECIPIENT:
FINALIST (Print)

Editorial illustrations for various articles and interviews, appearing on the Merivale food, culture & lifestyle blog, Meritales.

The blog can be found here.

Illustrated typography developed for the single Live In Life by Australian band, The Rubens.

The concept was to create a lockup that slowly warped, liquified and eroded – bubbling up like mercury.

The type is being featured on the band’s 2020 ‘Live in Life’ tour poster, as well as merchandise for upcoming shows and the opening credits of the music video.

Two quarter-page editorial illustrations for MiNDFOOD Magazine, supporting the column by Cat Rodie, “I tried...”

1.“I tried... Smash Therapy”. A form of stress release and expression, Smash Therapy allows you to blow off steam by breaking things in a room with a bat.

2.“I tried... A digital detox”, highlighting the amount of time we spend using our devices, and ways we can reduce or remove the need to do so and enjoy life a little more!

Art Direction by Nykke Coleman.

I grew up with Sophia Loren, Ennio Morricone, Totó and Mina, and discovered Isabella Rossellini and Frank Zappa later in life. This is a series of portraits of these Italian heroes for a personal project.

A fun personal project, exploring photography and handwritten type.

All photography from Unsplash.

‘Everything Venn’ began as a go-to drawing exercise when I was feeling stuck – a way to draw something new and imaginative. It’s since become a series of unique illustrations I’m thinking of making into a book, postcards or posters.

A personal project, exploring the use of photographs, illustration, type and animation. Playing with the idea of the not-so hidden messages inside and around us.

All photography from Unsplash.

To explore and develop a strong personal style and voice in my illustration, I challenged myself to 100 consecutive days of drawing.