James McPherson

I’m James McPherson, a designer and marketer passionate about blending creativity, storytelling, and sport. I’m currently completing a Bachelor of Design (Graphic Design) and Bachelor of Business (Marketing) at Swinburne University, where I’ve developed a strong focus on creating visual identities that connect people and ideas.

My approach to design is grounded in purpose. I aim to communicate meaning through bold, cohesive visuals that are both strategic and expressive. My work spans branding, packaging, digital media, and publication design, often combining playful typography with clean layouts and narrative-driven structure.

Outside of university, I manage social media and the website for the Melbourne Cricket Club Bowls Section. In this role, I’ve led creative direction, developed campaign strategies, and modernised the club’s online presence. This experience has allowed me to merge my design and marketing skills while deepening my connection to sport culture and community.

I’m motivated by collaboration, curiosity, and a desire to craft designs that not only look great but tell authentic stories. Whether it’s a grassroots sports club or a major brand, I strive to create work that builds lasting impact and connection.

Frankenstein Neo Noir Comic Book

A neo-noir reinterpretation of Mary Shelley’s classic, combining dark cinematic visuals and expressive typography to revive a timeless story in a modern form.

MCC Bowls Socials

Modernising a heritage club through bold visuals and strategic digital content to grow engagement, attract younger members, and celebrate community spirit.

Vibe Cube

Playful, collectible packaging that blends bold character design with interactive digital elements to create energy, excitement, and brand connection.

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.