Alina Neuberger

The Hobart Repair Café is a non-for-profit in Tasmania. Its basic objectives are to stop broken goods going to landfill by providing monthly repair workshops. It proposes that knowledge, tools and resources can and should be shared freely. This anti-consumerist approach strives to counter some of the timely issues of capitalism and pollution heralding a new way for the future. Upholding the café's values of traditional handcrafts, the logo was first created from a lino cut then digitalised. With a custom, purpose made font, the wider identity is bold like the organisation itself, yet clear and flexible allowing it to be easily used by the, possibly less design savvy, volunteers at the café.

The main issue standing in the way of the café’s greater success is that most people don’t know it exists. So, drawing on the activist roots of the organisation, a potential guerrilla awareness campaign was developed. Stopping people at the point where they would most commonly discard their broken items, it targeted wheelie bins with small tags and stickers calling for people to rethink their actions. Additionally a series of spray stencils (used with legal spray chalk) were created to provide directions to the slightly hidden venue of the café while again pleading people to repair.

The poster campaign was built up to again inform people of the existence of the Hobart Repair Café but also of the often overlooked alternative to recycling: repair. Created around a set of lino prints, these posters were to be pasted up not only on bins again but also at the local rubbish tip and the city’s shopping precinct where people are most likely to dump their possessions and go to buy new replacements.

The Climate Apocalypse Survival Guide is a satirical information flyer which puts the imminent climate crisis in perspective for the general public. Set in 2028 and inspired by genuine survival leaflets Australia sent out in World War II, it subtly mocks the inaction and incompetence of government. Informing readers of what to do in the case of an array of emergencies, it is accompanied by a set of ration stamps and a guide to eating pests and insects. The guide itself was produced on a Risograph printer to further emulate wartime aesthetics. This also allowed for a large number of guides to be produced efficiently. The guides were then distributed to the public via a random letterbox drop.

The Melbourne Cinémathèque is a well established local film society. Hosted by ACMI they run a year long program of diverse, often experimental, films returning to analogue methods where possible, aiming to present films in the medium they originally were made. To promote the upcoming program of 2022 an identity was created over a series of posters, promotional screens and a calendar. Produced almost entirely on a photocopier these speculative designs pay homage to the experimental non-digital eras in which the Cinémathèque is at home.

The centrepiece of the Melbourne Cinémathèque project, this A1 Screenings calendar, was created with a hybrid approach of cut and paste photocopying and digital typesetting. It folds out to reveal the years worth of film screenings. Although not shown here on this page, a series of animated promotional screens were also produced to promote the Cinémathèque directly on the cinema screens.