ANASTASIA BURN

Artist Designer



Kia ora, I have recently finished my Bachelors degree in Visual Communication Design with
First Class Honours at Massey University, Wellington. I am a Pākehā Artist Designer with a strong focus on typography, editorial, copywriting, dissemination and speculation, with the ability to shift my knowledge into various other medias and disciplines when needed. My work is primarily focused on ethics that are true to the moral of community, identity, the whenua and Te Tiriti o Waitangi, and I wish to work in environments that work with these foundations too.

I am currently available for freelance work.
    Please get in touch to collaborate.


+(64) 27 805 6614
anastasia.e.burn@gmail.com

Mount Cook, Te Whanganui-a-Tara
Aotearoa




© ANASTASIA BURN. All Rights Reserved
Further information and full resolution images can be requested via email

THE FLAG IS NOT THE TERRITORY
Honours Project | 2020    

FLAG + PASSPORT PUBLICATION

Content Creation | Graphic Design | Copywriting | Research | Print Production | Editorial | Textiles

The Flag is not the Territory is an interrogation that challenges our current dominant narratives and understandings of nationality and nationhood. By appropriating and subverting existing graphic systems, a new visual language is created that champions diversity and otherness. By facilitating a collective based response from four individuals, this new ‘counter-sign’ system of the designed vessel, the Flag and the Passport, highlights both celebration and fallacy within individual experiences of Aotearoa, New Zealand’s nationalism.


          LINKS              Red Letter Distro: Book
                             Red Letter Distro: Flag
                             Exposure





A PUNCH* ABOVE THE REST

ISTD: Numbers Brief | 2020    

PUBLICATION

Content Creation | Editorial | Typography |
Research | Copywriting

A Punch* Above The Rest is a typographical response to the 2020 ISTD Significance of Numbers brief. The brief asked individuals to reflect and respond to just how important numbers are in our day to day lives.

Boiling down to the base of all current technology is the language of binary. In a time now that feels as if ‘1’s and 0’s are floating unseen above our heads’, binary existed once in a tangible form as Punch Cards. Punch Cards are the earliest icon of the Information Age and the precursor to the Binary Code we all know today. They were a golden era of programming; the ubiquitous instalment in the worlds of data processing and popular culture. Their impact was huge but today they go unnoticed in our current zeitgeist of technology.

This is my homage to one of the most important developments in the modern age of information, technology and numbers; these little and ‘unassuming’ pieces of card.

Everything boils down to those 1’s and 0’s.
A Punch=1, No Punch=0.






JUSTSPEAK: IMPACT REPORT 2015-2020

JustSpeak | 2021  

REPORT

Typography | Report Design

JustSpeak’s vision is a society that gives everyone what they need while caring for each other and the planet. Their work is invested with the mahi and reimagining of justice to be about health and rehabilitation over handcuffs. Their end goal is the closure of all Aotearoa prisons—for good.

Supporting this kaupapa of prison abolition for Aotearoa, I was tasked with designing JustSpeak: Impact Report—2015-2020, a report that reflects and documents the last five years of their mahi. The report was a collaborative process, the layout and formatting being inspired by JustSpeak’s logo and three core principles reflected as pou’s that uphold the organisation. The report has been produced as both a web and print copy.


    LINKS             Coming Soon 






SHELF LIFE: A HOLOTYPIC TAXONOMY

Exhibition | 2020     

POSTER + TAKEAWAY + EXHIBITION

Exhibition Creation | Content Creation | Identity | Logotype | Typography | Display Design | Risograph

Shelf Life: A Holotypic Taxonomy
, an exhibition exploring the deconstruction and categorisation of the ‘humble’ yet ubiquitous plastic bread clip.

Shelf Life interrogates the role and purpose of the bread clip, speculating and interrogating what we understand these clips to be. Despite their mundanity, they are not as passive as we think. The exhibition plays on information, archival display and the concept of closure, sealing and re-usability: how far can one bread clip go?

Curated, designed and hosted by Thomas Stanton, Cameron Edwards, Ollie Foster and myself at 26 Constable Street. The exhibition ran for one week only and included over 100 examples of bread clips from all over the globe.


    LINKS             twentysix Archive






TYPOLOGY: A CLASSIFICATION OF TYPEFACES

Typology | 2020    

PUBLICATION

Editorial | Typography | Print Production

Typology: A Classification of Typefaces
is an editorial publication that celebrates the history of typefaces. It explores and breakdown’s categories, characteristics, anatomy and alternatives of typefaces and fonts. In honour of a typologist, one could call this publication the ‘Type Bible’.

Tasked with designing and putting these historic typefaces on display, I favoured a minimal and simple approach that is simultaneously engaging. The publication is an easy, referential dissection of type, invoked by a subtle ‘x-ray’ theme. Informing this idea further the stock, quality of materials, binding and colour has been chosen to reflect the silky, screened quality of an x-ray film. The publication is contained within a sleeve which one removes to ‘see beneath’ these typefaces. In developing my concept, I created a system of repetition that offered a full showcase and exploration of each classification, inside and out, for easy comparison and reference.

There are copies for sale of this publication.
Please get in contact if you are interested.