Shantih Duvel, founder of and designer at Silience Design Studio, and graduate from Charles Sturt University in 2020. She started down the path of Graphic Design at the age of fourteen. Working on a project for a class at school designing a poster for a fictitious gym. Since then she has gone deeper and deeper into the beautiful world of design. Born in South Africa and now based in Byron Bay, Australia. Two very different worlds, that allow her to have a unique interpretation of reality.
Shantih has always been drawn to minimalist design, however as her experience has developed and she has been exposed to different styles she has realised that her love is for colour, balance and creativity. When designing, a driving force behind her creativity is the quote by Antoine de Saint-Exupery, “A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away.” If something doesn’t improve the design, why keep it? As a Graphic Designer there is a necessity to find a balance between what you love and what your client needs. This is a big aspect to her work, approach and style. Flexibility is very important to her, so she aims to have an open mind when beginning any project.
What inspires her is constantly evolving and changing. She used to think of herself as someone who was only inspired by simple, uncomplicated design. The work of designers such as Saul Bass, a designer from the 60s who works with bold colours and minimalist design, is a huge inspiration. She is equally inspired by Jessica Walsh, a young, feminist woman whose dynamic, colourful and thought-provoking designs are exactly what society needs right now. These two designers are from very different eras and have extremely different styles. However, both are important and inspiring to her style and work as a designer.
As Shantih continues in her career as a Graphic Designer, there is little doubt that her inspirations and motivations will develop and change.
Appreciation is an amazing tool which can help people open up to themselves and those around them. To show kindness, attention and acknowledgement. The Appreciation Cards can be used in a variety of ways. They can be a tool for corporate group work and functions as well as a tool for individuals to use in their lives, to help improve their communication and appreciation skills.
The cards are based off of the Eneagram. The Eneagram is essentially, and yet far more complex than, a personality test. It is broken up into three sectors which each have three Types. Every person is a combination of these nine types but usually displays a dominant type. The types each have their ‘healthy’ and ‘unhealthy’ behaviours. So the goal is to strive to be the best version of your dominant type as well as those of the other eight types.
The Appreciation Cards are a deck of 60 cards. There are 10 designs within the deck; one for each Type and the tenth for the informational cards.
The cards have been designed to help people articulate how they’re feeling towards other people or themselves.
Each colour scheme and floral line graphic has been carefully picked to suit the energy and personality of their respective types, and the overall neutral landscape background design connects the different cards.
Each card has a large ‘Appreciation’ word on the front with three smaller synonyms underneath it. On the reverse side of each card there is a question related to the appreciation word on the front of the card. This style of question is called an Incisive Question and is designed to help you think more deeply about the word on the card.
Poster and T-Shirt – Consent
This project was the creation of a poster and t-shirt design that are centred around a social issue. As a young woman who was born in South Africa and moved to Australia as a child, the first and only social issue I considered for this project was the topic of Consent. Consent relates to everyone on this planet and is not talked about enough. As a woman I feel especially passionate about it and this project provided an opportunity for me to design something that can help people understand Consent better.
The project uses the many ways in which men and women say NO to physical and sexual advances. With the goal of illuminating that the only way to get consent is with a clear and coherent YES.
The collection of phrases were sourced from a variety of men and women from different age groups and backgrounds. Many of whom communicated their reasoning behind using alternatives to a simple NO were based off concern for their own safety.
With the project being heavily text based the designs are primarily typography with selective colours to help communicate the message. The visuals of the phrases are complimented with some statistical information about sexual assault in Australia, and what constitutes Consent.
THE POSTER DESIGN
The poster has used the phrases gathered as a pattern and not as clear, readable typography. The goal is not simply to get people to read the phrases but instead to notice the ones that relate most to them. Similar to a word search, noticing the few that jump out at you – rather than reading every single one as a list. The phrases surround the word NO, symbolising their connection to it. In contrast, the word YES stands alone. At the base of the poster is the statistical information as well as the guidelines for consent.
Consent is; CLEAR, COHERENT, CONTINUOUS, and VOLUNTARY!
THE T-SHIRT DESIGNS
I worked with the block design from the poster as the graphic for the back of the tshirt and for the front of the shirt there are a set of three designs using a single phrase each. Rather than having the phrase by its self I have incorporated the word NO within the design, using negative space and contrast. They designs are intense, and take a second look to fully absorb the information. This complexity is intentional and add to the message of the project.
Spring Catalogue – WZRDTEK
Wizard technique (WZRDTEK) is a project by Adam Burger. It is a platform for creatives to collaborate and participate in. They produce a range of clothing, mostly hoodies, long-sleeve shirts and t-shirts. They produce their pieces sustainably and locally, which is a big part of their appeal.
WZRDTEK’s aesthetic is a combination of classical 90s grunge and modern trends. It proved a wonderful challenge, when designing the catalogue, as it is a style not attempted at Silience before. The biggest challenge, and greatest reward when it was achieved, was finding the balance between grunge and modernism.
THE WZRDTEK CATALOGUE
For this catalogue I worked with Adam to photograph his new line of clothing, as well as a few collections that were re-running. The photo editing process focused on applying vintage filters and distortion to the images, in order to fit the overall aesthetic of the brand.
The catalogue consists of three collections; Demonology, Scanning of Modulations, and Faced with Anarchy. Demonology is the collection that was released this spring. Scanning of Modulations is a run of one-of-a-kind prints, and Faced with Anarchy is a popular collection that was being re-printed and re-run. Each page’s design used elements from their respective collections as well as grunge textures in order to achieve the perfect balance of vintage and modern aesthetics.
Bailey’s Beach Adventure – Children’s Book
Bailey’s Beach Adventure is a children’s picture book written and illustrated by Shantih Duvel. The story is about a child aged character, Bailey, who goes for a walk along the beach one day and discovers a beautiful shell. Bailey sees the shell and is compelled to pick it up and admire it. Before Bailey has the opportunity to touch the shell it shouts STOP and proceeds to explain consent to Bailey.
The purpose of this book is to create a tool which can help young children understand the importance of consent. It relates to both their right to give consent before being touched by others, and to know that it is important to gain consent from someone they want to touch.
One of the primary objectives of this project was to create a story that is neutral to genders and stereotypes. To do this I used gender neutral colours, such as green and yellow for the clothing, and language through the use of ‘they’ and ‘their’ for the pronouns. I have created a character that is non gender conforming based on the fact that it is not human and has an androgynous name.
The illustrations have added a visual element to the language of the story that will help children connect to the message. The combination of the words and the illustration paint a well resolved and wholesome story for parents to read to their children.