Jing Wen Ng

Communication Design

Jing Wen is passionate about creative visual communication, specialize in booklet and brochure design, focused on the style of vintage. Jing Wen’s specialization lies in crafting designs that pay homage to the artistic movements of the past. In this theme, she loves exploring the details of vintage artistic sketches and arts. What sets Jing Wen apart is her devotion to preserving the essence of vintage art while infusing it with a contemporary twist, injecting personality into designs. Whether it’s through intricate illustrations, ornate typography, or the subtle color palettes of yesteryears, Jing Wen aim to create designs that evoke a sense of nostalgia, elegance, and a touch of whimsical romance.

“The Last Days of Detriot” - (Lonesome Shadow)

A monothematic publication of “Last Days of Detriots” with the theme of “abandoned”. Playing with the position of the photos and typography. Look into the feelings of violence and horror. Abandoned plays it well. The colors chosen are according to the polis tape for the crime scene.

Annual Report: Royal Botanic Gardens Victoria

A vintage, old-fashioned piece of design. Playing with the ornate typography, colors, and some interesting plant illustrations.

Three Packs: Crafter’s Studio Handmade Artisan Soap

Vintage realistic hand-drawns as the main element of creating the packaging patterns. It includes a pencil sketch of rose, mint, and lavender.

Trifold: Crafter’s Studio Handmade Artisan Soap

Specialize in the eye-catching concept of cut-out design to give a visual of looking through the secret garden through the window. The idea was inspired by “Alice in Wonderland” (2010 film).

Book title: Illusion

“Illusion” is basically talking about mentality in anxiety about our lives. Mainly focused on the position of typography, inspired by the principle of Bauhaus movement typography.

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.