Joshua Stocks

Hello there! My name’s Josh, I’m a passionate and eccentric Swinburne Graduate who originally began my studies in electrical engineering— I eventually got bored of the 1’s and 0’s and moved into UI/UX design where I’ve lived happily ever after. I’m all about breaking conventions with purpose, pushing pixels with passion, and making sure every interaction is as smooth as it is unforgettable.

Featherly

Featherly is a social networking app for adults aged 50–75, focused on enhancing digital literacy and encouraging community through birdwatching. Designed for a welcoming and safe user experience, it includes advanced usability and error prevention features.

If you'd like to know more about this project, you can read up all it about on my website!

Altor Security App

In partnership with Altor Technologies, we designed a quick and intuitive mobile application to complement their flagship security device, intended to protect tradies and their tools.

If you'd like to know more about the project, you can head over to my website for a full case study!

Pages & Pathways

An innovative geolocated mobile game, that takes place across the Greater-Western Melbourne area. Featuring a unique art-style and custom Figma interactions, Pages & Pathways promotes tourism in the region and encourages physical activity.

If you'd like to know more about this project, or even play the game yourself, you can head on over to my website!

Beyond The Bet

Beyond The Bet is a visually compelling web campaign aimed at individuals aged 18–25, aimed to raise awareness about responsible gambling.

If you'd like to know more about this project. you can head over to my website for a full case study! Alternatively, you can check out @beyondthebetau on Instagram for a full collection of campaign content.

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.