QUYNH-NGUYEN
INFO
PLAYGROUND
[ig] [lkn] [resume]
from ■ Vietnam, now based in ■ Narrm / Melbourne. I’m a recent Master of Communication Design graduate from ■ RMIT, with a background in ■ Interior Design. My interests lie in branding and illustration, especially in ■ Identity and ■ Publication Design.
RMIT FOOD SECURITY |
CAMPUS FOOD STORE
Identity Design
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Early logo concepts proved impractical for rubber stamp production and conflicted with RMIT brand constraints. Through iteration, I developed a modular logo system integrating a chicken icon with the RMIT pixel in a clear, non-obstructive composition. The final mark balanced institutional requirements with a playful, student-facing tone and was approved for use across multiple RMIT Food Security programs.
The project operated within a live service environment, tested through weekly soft openings and delivered in collaboration with RMIT Student Life staff, project managers, designers, and student volunteers.
■ Supervised by Dr. Helen Addison-Smith
■ Illustrator | Photoshop ■ 2025
SECOND LIFE |
VIETNAMESE PICKLING AS PRESERVATION
Communication Design | Illustration
𖤓
The project targets the domestic space, specifically the fridge, where decisions about food are made daily. It introduces a Kitchen Toolkit designed to interrupt wasteful habits and inspire small, creative acts of preservation. The toolkit includes two posters, a magnetic board, fridge magnets, and stickers, all guided by Vin (Vinegar), a friendly mascot bridging cultural heritage and practical action.
One poster narrates the second life of produce, while another illustrates common pickling ingredients and (fun facts). Both include cultural insights and a QR code to recipes (included for layout purposes; recipes can be found online), making an ancient practice approachable and relevant for a modern audience. Ultimately, the project demonstrates how communication design can translate intangible cultural heritage into tools for sustainable behavioral change.
■ Supervised by Dr. Michael (Miek) Dunbar
■ Illustrator | Photoshop ■ 2025 ■ University Project
NARNIA BOOK COVER
Illustration | Graphic Art
🜲
The publication order reflects how C.S. Lewis originally introduced readers to Narnia, beginning with The Lion, the Witch and the Wardrobe. In contrast, the chronological order, adopted by publishers in 1994, follows the internal timeline of the story, starting with The Magician’s Nephew. While my design follows the publication order, I considered readers who prefer the chronological sequence. The spines were designed to remain cohesive regardless of which order the books are arranged, respecting both reading experiences.
Instead of volume numbers, I used stars to suggest sequence and flexibility. This decision allows reordering while visually reinforcing the celestial and spiritual themes central to the series. When placed together, the spines of the full series form the final image from The Last Battle, featuring Aslan beneath a starry sky with comets, symbolizing the ideas of divinity, hope, and redemption that define the series’ conclusion.
■ Supervised by Kim Mumm Hansen ■ Illustrator | Photoshop
■ 2024 ■ University Project
HIVE STORIES
Identity Design | Publising
⬢
Inspired by bees, the platform reflects the hardworking and collaborative nature of a hive, where hexagonal cells symbolize both individual creativity and collective effort, much like writers building stories within a supportive community. I believe the existing logo of the platform follows a similar concept, combining the image of a hive with a stack of books. However, the drop of honey placed on top makes the entire logo resemble a hexagonal candle more than a hive.
My concept builds on the original idea while refining its symbolism. I combined the hexagonal shape of a hive with imagery related to both bees and creative writing. The final logo features a stylized bee: its body forms a hexagon and its stinger transforms into a fountain pen nib, representing storytelling, creativity, and community. The warm palette of orange, yellow, and black conveys energy, optimism, and professionalism. Paired with clean, modern typography, the logo balances playfulness and sophistication, capturing the spirit of a new generation of writers.
■ Supervised by Michael Bojkowski ■ Illustrator | Photoshop
■ 2024 ■ University Project
CODE
Identity Design
For this project, I developed a visual identity system and demonstrated its application. The logo draws inspiration from native Australian gumnuts, which symbolise sustainability and growth, reflecting how CODE nurtures and supports thriving digital ecosystems. The circular form also references a camera lens, representing creativity, digital storytelling, and innovation. Together, these metaphors express CODE’s commitment to excellence in digital media and systems thinking.
The colour palette conveys lightness, digital fluency, and a natural sensibility, aligning with CODE's emphasis on sustainable innovation and connectivity.
The primary typeface, Utendo, adds a contemporary tone and references digital play, drawing from the typographic language of Nintendo’s Wii U. This connection reinforces CODE’s work in digital design and game development. The secondary typeface, Cascadia Code, draws from the visual language of coding ligatures, highlighting CODE’s technical focus and digital expertise.
■ Supervised by Michael Bojkowski ■ Illustrator | Photoshop
■ 2024 ■ University Project
PINCHGUT OPERA
Branding | Advertising
The re-brand uses collage imagery made from classical paintings paired with bold sans-serif typography to balance tradition and modernity. These reimagined visuals introduce a playful, accessible tone while preserving the company’s classical roots. The identity features vibrant colours, expressive layouts, and sticker-like text shapes to create a dynamic and contemporary aesthetic.
This approach builds on Pinchgut Opera’s existing visual language, offering continuity for current audiences and new appeal for younger ones. The collage style is flexible in tone, ranging from humorous to serious, depending on the production, combining classical art with modern elements to create unexpected, engaging visuals.
■ With Kiki Yu & Yiben’s Design ■ Supervised by Ziga Testen
■ Illustrator | Photoshop ■ 2025 ■ University Project
THE BITE SITE
Identity Design
𖠩
The brand reflects the co-op’s student-first ethos: a space run by students, for students. It embodies reliability, continuity, and care, offering more than just affordable, nutritious food. The Bite Site provides a safe and welcoming environment where food insecurity can be addressed without stigma, fostering solidarity and breaking down cultural taboos around food need.
Tone of voice reinforces this positioning: peer-to-peer, casual, conversational, and transparent. Messaging focuses on accessibility, affordability, and community ownership, ensuring the co-op feels approachable and co-created rather than hierarchical.
Through this identity, The Bite Site becomes more than a service, it is a dependable campus presence and a platform for collective care, student involvement, and resilience, rooted in trust and shared ownership.
■ With Joy, Nichola Audrey, hoyinshe, dennis & rosie.in.thought
■ Supervised by Dr. Michael (Miek) Dunbar
■ Figma | Photoshop ■ 2025 ■ University Project
NEW JEANS IN PRINT
Typography | Publication
■ With hoyinshe, dennis & rosie.in.thought
■ 130mm(W) x 200mm(L) ■ 180 pages ■ Perfect binding
■ Supervised by Ziga Testen ■ InDesign ■ 2024
■ University Project