Sasha Taylor

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SELECTED
#PROJECTDISCIPLINEYEAR
A1UNIVERSITY OF MELBOURNE LEARNING EXPERIENCESBRANDING, DIGITAL, PRINTUPCOMING
A2AUSTRALIAN QUEER HISTORIES CONFERENCE 2026BRANDING, DIGITAL, PRINTUPCOMING
A3MIFF26
BRANDING, DIGITAL, MOTION, PRINT2026
A4MIFF25
BRANDING, DIGITAL, MOTION, PRINT2025
A5MIFF24
BRANDING, DIGITAL, MOTION, PRINT2024
A6PRIMARY MOTION MOTION2023
A77-ELEVEN SMOOTHIE SCREENSDIGITAL, MOTION, ILLUSTRATION2022
A8SAMSUNG STORYTELLING WITH DATABRANDING, DIGITAL2022
A9MELBOURNE HOLOCAUST MUSEUM BRANDING, PRINT 2022
A10BOOK RUNNER BRANDING, DIGITAL, ILLUSTRATION2021
A11MAUD x MECCAILLUSTRATION2021
A12LUXE FLORARTBRANDING2021
A13BARBARA KRUGER MEMBERSHIPPRINT2019
A14CLOUD SERVICEBRANDING, EXHIBITION DESIGN, PRINT2019


PUBLICATIONS
#PROJECTARTISTYEAR
B1NOBODY KNOWS I’M GAYC.MOORE HARDY2026
B2TEN EIGHTYMATT DUNNE2026
B320,000 RETURN PHOEBE KELLY2024
B4DEATH OF AN IDEAPETER MILNE2023
B5WHAT ARE YOU LOOKING FOR?LUKE LE2021
B6THE ROYAL TOUR VINCENT NAMATJIRA2020
B7FIGURES OF SLIPPAGE AND OSCILLATIONIZABELA PLUTA2020
B8JUVENILIAPETER MILNE2020
B9COO-EE!CLAUDIA VAN EEDEN2019
B10END STREETNOEL MCKENNA2019
B11PELCI MANORSARAH WALKER2019


PRESS
#PROJECTARTICLEYEAR
1
WHAT ARE YOU LOOKING FOR?
NOWHERE DIARY
2023
22022
32022
42022
52022
62021
72021

AWARDS
#PROJECTAWARDYEAR
1MIFF26AGDA DESIGN AWARDS, BRAND & IDENTITY – FINALIST2026
22024
32023
42023
52023
62021

EDUCATION
#DEGREEGRADEYEAR
1
RMIT UNIVERSITY – BACHELOR OF MEDIA AND COMMUNICATION (HONOURS)
HONOURS FIRST CLASS
2017
2
RMIT UNIVERSITY – BACHELOR OF DESIGN (COMMUNICATION DESIGN)
DISTINCTION
2014–2016


© 2026 Sasha Taylor

I respectfully acknowledge the Wurundjeri People of the Kulin Nation as the Traditional Owners of the land on which I live and work, and I acknowledge that this land is unceded. I pay my respects to Elders past and present.

B11
  • Pelci Manor

Cover design for Sarah Walker’s Pelci Manor. The publication uses a bold typeface that feels at home within the attic of the 19th-century art nouveau building. In particular, the positioning of diacritics and the unconventional presentation of the book’s ISBN on the back cover add to the ‘ominous, curious and claustrophobic’ nature of the photographs.