Bailey Murphy is a print and digital designer with a practice rooted in storytelling, ecologies and user experience. She loves translating design across mediums and connecting her work with different audiences. Bailey has experience in the education and not-for-profit sectors, with skills spanning print design, social media marketing and content creation. When she isn’t designing, she is off camping and bird watching from her roof-top tent with very little worries.
Impact Report:
Shaping Tomorrow, Today - Report for Consent Labs made in collaboration with Demi Tcha & the Consent Labs Team.
This project developed a clear and thoughtful visual language for Consent Labs’ annual Impact Report. Working with Marketing Coordinator, we designed a layout that translated complex information into something readable, engaging and grounded. Maps, diagrams and infographics traced reach, participation and community outcomes, helping the data feel connected to real places and people. The report balances clarity with warmth, presenting evidence of impact while honouring the stories behind the numbers. Through careful design, it becomes more than a document, a record of collective effort and cultural change.
Publcation & Print
Infographic Illustrations
Typography
See the full Report
Trilby Station
A place brand shaped by the quiet rhythms of the Darling River region. Rooted in connection to land, family, and slow living, the concept celebrates connection to nature, to family, and to the rhythms of the land, inviting visitors to disconnect from city life and share in a slower, richer way of being.
On This Troubled Ground:
Mapping relationships between motherhood & future care
On This Troubled Ground explores motherhood, ecology and future care in a time of uncertainty. The project reframes mothering as a way of relating to the world, asking how care might extend beyond the human to soil, roots or place. Through writing, design experiments and visual storytelling, it examines interdependence and resilience across human and more-than-human relationships. Blending research and reflection, the work draws on feminist and ecological thinkers to consider how tending, translating and responding might help us navigate unstable futures with attentiveness, adaptation and shared responsibility.
Publication & Print
Typography
Photography
Illustration
Design Research
Take a look at the full PDF
Atlas & Alder Branding Concept by @briefcub
Created for Brief Club’s design challenge, this project reimagines Atlas & Alder through Greek mythology and contemporary menswear. Inspired by Atlas holding the celestial sphere, the logo becomes a symbol of strength, craft and grounded elegance. The identity extends across linen-shirt and knitwear mockups, packaging and printed collateral including a post box, receipt, business card and clothing tag. The concept explores how mythology can shape modern brand character, blending texture, storytelling and refined simplicity. The entry received strong feedback for its palette, clarity and thoughtful additional assets.
Branding
Typography
Design Research
Mothering as Method:
A feminist approach to visual storytelling, reproductive anxiety,
and the climate crisis.
Honours Thessis for Visual Communications
Honours 2025
This research explores how reproductive and ecological anxieties intersect in a time of climate disruption. Drawing on feminist theory, Indigenous knowledge, narrative studies and multispecies ethics, it examines how stories and metaphors of mothering shape responses to environmental collapse. Through scholarship from Haraway, Sasser and Tsing, alongside narrative-rich grey literature, the work traces themes of climate grief, relational care and interdependence. The thesis proposes an expanded ecological language of mothering that extends beyond the human, positioning storytelling, emotional literacy and multispecies kinship as tools for navigating uncertainty and imagining more attentive futures.
Read the full PDF here
Trail Lines
We make up lines; short and tall, long, transcending, straight, or narrow, crossing, intertwining, or bordering another’s. Some we follow, let them guide us, others we or only hear about. Every line, story and trail is connected as an experience - human nature is to share these stories, map them, trace them and preserve them. Trail Lines is a space for this preservation, it’s the sort of publication you would find on entry to a National Park or in a Cultural center. As Rebecca Solnit writes ‘the history of walking is an unwritten, secret history, whose fragments can be found in a thousand unemphatic passages in books, as well as in songs, streets, and almost everyone’s adventures’. We are interconnected through these lines we make, it’s what holds us together.
Print & Publication
Typography
Photography
Illustration
Design Research
Mesh Visual Communications
end of year showcase
Made in collaboration with
Tom Houston, Filipa Jennings
& Byron O’Halloran
Mesh is the brand identity created for the
UTS Third Year Visual Communication end-of-year showcase. The project developed a flexible graphic system that connected students, work and audience through a sense of collective energy. The identity extended across logo design, event tickets, social media tiles, web assets, Humanitix collateral and printed certificates for award winners. The outcome brought cohesion and vibrancy to the exhibition, shaping a visual experience that celebrated community, creativity and the diverse practices within the graduating cohort.
Design Problem: The Womb
Mother Fragments
Mother Fragments is a collection of landscape and texture photographs taken by my mum, she gifted me these images, she said she thought I might use them in my design work. I edited the photos into abstract, organic shapes in black and white, manipulating them into forms reminiscent of internal spaces: wombs, vessels, voids. Over these forms, was then layered a raw stream of internalised expectations surrounding motherhood that I wrote. Resulting work is both a collaboration and a rupture: between generations, between seen and unseen labour, between beauty and burden. Making visible the emotional labour and societal weight of “mothering” as a framework.
After Five
This project revisits an earlier idea, reshaping it into a narrative rooted in evening walks around Bilgola Plateau. Using voice notes captured in situ, the work transforms fleeting observations into a short story that weaves together text, imagery, and place. Presented in print and as a small digital site, the publication experiments with how walking can become a form of storytelling and how digital spaces can feel intimate, responsive, and alive. It sparked my interest in interactive design, where the web becomes not just a page, but a participatory space for shared experiences.
Print & Digital
A typographic and layout redesign for Left Bank, aligning the venue’s menu with its new refined and elevated direction. The work centred on clarity, material presence, and a visual tone that quietly signals prestige without losing approachability.
Print is Alive: A Manifesto
Digital media can’t replicate the feeling of holding paper ephemera, postcards from afar,
a receipt from a first big purchase, a love letter, a menu kissed with coffee stains. You can feel the kilometres these objects have travelled, the time it took to write, typeset or stamp them. Print is alive, outlasting us. Yet with technology, what do we leave behind? Recipes sit in apps, photos in desktops, letters in notes.
My manifesto is to create material archives to write, print and leave traces that can be touched, worn and discovered long after me.
Print & Digital
Typesetting and layout for Melbourne Winery, a new venue within the city’s food and wine precinct. The role involved refining textual hierarchy and integrating new branded typography to create a polished, cohesive, and atmospheric menu experience.
Observing & Transcribing Bodies of Water:
Observing & Transcribing Bodies of Water is a practice for emerging designers to step outside the machine-driven world and find deeper inspiration through noticing the environment. This small printed zine was designed to be carried, inviting slow observation, reflection and a return to material ways of seeing.