+64 21 114 2841
Kia Ora, I’m Holly. I am in my final year studying
Communication Design (B.Des) at AUT. Currently based in Tāmaki Makaurau.
For CV and other inquires please email: email@example.com
1. The Hosking Standard
ISTD 2018 Student briefs: Anniversaries
Anniversaries essentially represent a set of systems and values, given meaning through repetition and routine, by which they are embedded into the constructs of our society. The news cycle is an example of such a system. “The Hosking Standard” is a case study exploring the standards and democratic processes, that keep these roles and systems in place within the wider context of an on-going news cycle.
“The media may sincerely follow institutional norms of impartiality and neutrality, yet they cannot escape the fact that their approach to a story implicitly teaches the public how to understand central issues.”
“The Hosking Standard” is a typographic response to a decision released by the Broadcasting Standards Authority, which condemned yet cleared an editorial commentary made by presenter, Mike Hosking, perpetuating a clear case of institutionalised racism. The publication aims to comment on the codes and standards that set the parameters for news discourse, and subsquently the formation of public opinion.
The structure of the double-page spread is composed so that the decision runs through the right-page, and the complaint to Authority which the decision responds to, is on the left. The wiro-bind allows for each side to be read as singular entities, or together as a spread of two juxtaposing dialogues.
2. Video Ezy Graphic Standards
Brand Identity and Strategy: A Hypothetical brief
Video Ezy is one of the very few video stores remaining in Tāmaki Makaurau, amidst a rapidly declining global market for DVDs. The popularity of online streaming sites have been the single largest threat to the video market.
An ethnographic research approach and analysis informed the strategy for the
re-brand; first, understanding where the current business model/operations sit within the competitor market. What has been identified are gaps in the market, that competitors capitalising on the expanding online market, such as Netflix, have left under-catered, and at the hands of the humble video store.
“Streaming services are trying to offer something new, we’re trying to offer something good. [Customers] can see stuff they’ve never heard of before, and actually have the physical disk in their hands and look at the covers.”
Video Ezy provides an off-line video service that concentrates on delivering a comprehensive selction of both classic and contemporary films. Amidst a surge in online streaming sites and digital providers, which for the most part have left major segments in the video market undercatered, Video Ezy fosters an integrity to conserve physical media.
The visual communications system is designed to encompass this mission through a graphic language and identity, that is both classic and contemporary; a reverence for the past and new.
Listen to store playlist ͢
3. Ngā Wai o Horotiu Marae
Sequential Composition: Whakataukī
Whakataukī (proverbs) constitute a large role in Māori culture. They are a poetic form of the Māori language where historical, or holistic perspectives are met with messages that are fundamental to the fabric of Māori society.
The parameters of this project were to explore and interpret through photography and typography, the meanings of four proverbs, rooted in the subjects of the Ngā Wai o Horotiu Marae (AUT Marae). The format specified was a 12-page accordian fold 180x180 booklet that can be read as a single sequential narrative, also spread by spread.
4. Trading Cities
Porto Design Summer School: Italo Calvino’s Invisible Cities
In July 2017, I spent 2-weeks in Porto, Portugal in an editorial design course under the mentorship of internationally renowed designers Andrew Howard (UK/ESAD Porto, designer, educator, writer and one of the original signatories of the First Things First Manifesto 2000), Hamish Muir (UK/LCC London, designer, founder of Muir McNeil, 8vo, and Octavo International Journal of Typography), Catherine Griffiths (NZ/Paris, designer, typographer and artist), and guest tutor David Pearson (UK book designer and typographer).
The course culminated in two publications of Italo Calvino’s Invisible Cities. The internal structure of the book was divided into 11 themes, assigned to each group of 11 designers. Each designer was allocated a theme to interpret within specific parameters of format, set by tutors. The designed pages were collated and bound in order of the chapters of the original manuscript.
I was assigned the theme, Trading Cities. I designed a set of typographic responses, translating the stories of each city into visual narratives that explore trade as a mobility of people and things, relationships, systems and networks.
5. Manifestos 1913-2015
Tabloid Publication: Ko wai e tū nei/Who stands here?
Ko wai e tū nei literally translates to ‘Who stands here?’. In Māori contexts it is often expressed as a precursor to talking about who we are and where we’re from. In this project, ko wai e tū nei is about who I am as a designer, through research, readings and discussions of some of the general philosophies that have informed graphic design practice, I am challenged to navigate where I stand, amidst it all.
The publication is a designed collection of research, writings and response to existing design philosophies and manifestos, that also develops ideas of structural systems and the typographic grid, as a set of systematic functions and applications of information. The conceptual rendering of graphic interfaces supports the exploration of design philosophy, and how it has both shaped and been shaped by design practice.
The physical outcome is a multi-paged A3 staple-bound publication, printed on 128gsm Sumo Gloss.