Trigger designed site-specific environmental supergraphics and smaller pieces for the ‘The 80s are Back’ marketing campaign that appeared at key sites at the Powerhouse and throughout the city. As well a central androgynous hero character, who appeared standing for portrait orientated outdoor and supine for landscape orientated outdoor, Trigger created 5 archetypal characters that featured throughout the marketing campaign and in the exhibition as life-size moving projections. Trigger also wrote copy such as the main marketing tagline ‘Rewinding 80s culture’ which appeared on outdoor.

Trigger, partnered with Barnbrook Design (UK) and some of the worlds leading artists to create an unforgettable visitor experience across Sydney in May, June, July and August in 2010. Trigger applied Barnbrook Design’s brand concept to promotional, environmental and print material. Trigger was also involved in the design of onsite facilities such as ‘Education Hubs’, merchandise stores and designed wayfinding across the city and Cockatoo Island. Trigger fitted out a fleet of ferries with signage, and designed material for the diverse range of venues which included Cockatoo Island, the Museum of Contemporary Art, Wharf 2/3 and Artspace. Visitation statistics record a doubling of numbers from the previous Biennale.

Original concept by Barnbrook Design

Trigger created a very successful and highly visible campaign for the 16th Biennale of Sydney in 2008, one of the largest and oldest art biennales in the world. Trigger worked closely with the Artistic Director to ensure the visual identity communicated the themes of the exhibition, and the Biennale marketing department on strategy and production. Trigger created site specific environmental design such as the Biennale Hub, which transformed Customs Square into a BOS information point and social enclave during the day and in the evening. The ‘Hub’ was constructed from readapted container terminals, repainted and signed with space for a lounge and DJ booth. Trigger also created environmental graphics across all Biennale site such as the Museum of Contemporary Art, The Art Gallery of New South Wales, Cockatoo Island, The Botanic Gardens and Artspace as well as street banners and posters.

Trigger was commissioned by the Art Gallery of New South Wales to design promotional material for its major Summer 08/09 exhibition – ‘Monet and the Impressionists’. The shimmering light and myriad of colours that define paintings of this period inspired the design. A dual cool/warm colour palette was used to ensure the design complimented any artwork used for marketing purposes. The campaign encompassed citylight posters, banner and a range of advertising and printed collateral.

Bunda Fine Jewels commissioned Trigger to conceive environmental graphics for its flagship store located on busy George St, Sydney. The brief was to create graphics that communicated the Bunda luxury brand and to enhance the separateness and privacy of the store from the adjacent Hilton Hotel foyer. Trigger created an intricate ribbon pattern which wraps around the store’s clerestory windows in a developed spectrum of Bunda's signature colour - purple. Because the graphic is two offset patterns separated by the thickness of the glass, the illusion of movement and vibration is created for passers-by.

Previously an under-utilised dark thoroughfare space in a heritage building at Johnson and Johnson Medical’s Australian headquarters, Trigger worked with PMDL Architects to transform the space into a large flexible zone used by staff for meetings and as a series of smaller breakout zones. As part of this transformation to a lively, yet reflective space, befitting its location as the epicentre of the building and the historical core of the headquarters, Trigger consulted on the interior design and designed a super-graphic to cover all walls. The aim of the graphic was to encourage creative thought and provide an uplifting experience for the rooms users, in tune with the Johnson & Johnson Medical credo. The mural plays on the idea of the room as a contemporary ‘library’ space – tranquil but with a playful edge. Inspiring stories from people Johnson and Johnson have over its long history helped are typeset in the forms of ‘flying’ books. The graphics are free, loose and not over-branded, and use the white space of the walls as a canvas. Typographic forms flow seamlessly over cornices and architraves and ‘float’ in the double height void area at the entrance to the buildings.

Outback Theatre for Young People (OTYP) is a vibrant organization that engages rural youth in all aspects of theatre. Trigger’s identity design reinterprets the rural cliché earth colour, many associate with the Australian outback, as a fun and lively fluorescent orange, reflecting the joy and energy of OTYP. The dots become an abstract secondary identity that are used in playful ways, such as for website navigation buttons and animations. The visual identity was conceived to allow low cost production of all elements. For example, the letterhead can be printed with a template that transforms it into a brochure.

Internationally renown architect Shigeru Ban and architecture firm Toland have partnered with Trigger to win the project to revitalise the Powerhouse Museum. The project brief to create an ‘open museum’ is realised in the design for an exciting new entry experience and a reconfiguration of the museum’s exhibition, educational, workshop, function and public spaces. Trigger has been a key member of the team’s multi-disciplinary think-tank group, working across all areas of the project, and brings special expertise to bear on strategies to enhance the visitor exhibition experience, the integration of new and existing technologies and design of environmental signage and graphics. The project is due for completion in late 2011.

Trigger re-branded Summers Floral, transforming it from a dowdy, downmarket florist into a sophisticated vibrant business with an original and credible brand presence. Trigger undertook a business analysis and defined Summers Floral’s essential brand qualities – ‘beauty, truth and harmony’. Trigger also defined the three key segments of the business – local, bridal and business and created promotional strategies and design to engage these markets. Trigger created copywriting for the website and all promotional material, commissioned and art directed consummate lifestyle photographer Jennifer Soo to create brand imagery. The new brand was applied across all collateral including: signage, website, gift cards, promotional, postcards, brochure, gift tags for floral arrangements, wrapping, ribbon, financial collateral, stationery, among other items. Sensitivity to materials was essential to compliment and support the brand. Texture, a sympathetic colour palette and a preference for ‘honest’, natural materials ensured that all collateral was successfully realised.

Trigger was commissioned to re-brand Shear Outback Museum to provide a more lively and contemporary feel without losing its rural characteristics. The original identity was refreshed with typefaces referencing wool bale stenciling, ledgers and log books. The identity was applied across all collateral of the museum including tickets, brochures, flyers, website and digital. The entry experience was enhanced with: clear signage explaining the museum’s charter, advertising for a temporary show and orientation for visitors. In tandem with the design of the museum brand, a Trigger designed the visual identity for the ‘Shear Strife Sound and Light Show’, a special evening show in the grounds of the museum.

As part of a complete interior and exterior building refurbishment for The Law Society of New South Wales, Trigger was commissioned by PMDL Architects to design all interior graphics across 12 levels. This included graphic glazed panels for all offices, meeting areas, breakout spaces, council rooms and function spaces. A twenty one metre long typographic mural using key legal terms and phrases, expressing the values of the Law Society of New South Wales was designed for the revitalised lobby space. The project required intense consultation with the Law Society, project management team Incoll, PMDL and the Buildcorp construction team.

Artist Marion Borgelt created a large scale outdoor sculpture in the grounds of the Shear Outback Museum in Hay, in south western corner of New South Wales. The ‘Round Up Maze’ is inspired by the award winning aerial photograph taken by photographer Peter Leaver, featuring a mob of 2000 sheep being mustered on the Hay Plains. The maze is an interactive experience for visitors to understand what it means to be inside sheep yards – the sights, the sounds, the dusty atmosphere. Trigger was commissioned to design panels to interpret aspects of the maze’s construction and meaning and assist in orientating visitors. Typefaces used reference log books and ledgers from sheep stations in the area. Smaller interpretive panel’s within the maze are signposts for an interactive audio tour.

Trigger collaborated with Johnson and Johnson Medical to create a suite of wall plaques for its Australian headquarters that tell the inspiring stories of the people behind the company. It was important to communicate intrinsic Johnson & Johnson Medical’s values of ‘restoring the joys of life’ and to create a timeless design that could compliment streamlined white space, while at the same time respect the heritage of the building. Trigger has drawn on its background in interpretive design to create compelling tableaus, which are a fresh interpretation of the traditional wooden plaque - bringing this object into a contemporary framework and mindset. Use of the inherent qualities of timber in the construction provides warmth. Expert craftsmanship of the panels symbolises attention to detail. A duotone image is split across two physical planes and provides the subtle illusion of a 3D image to invite curiosity.

Gregory Anderson of Trigger worked in close collaboration with choreographer Adrian Burnett to create a set design for ‘Oneiros’. The piece was made on the dancers at Singapore Dance Theatre and had its world premiere at the Esplanade Theatres, Singapore, in July 2010.

‘Oneiros’ is the Greek word for dream. The Oneiroi, from Ancient Greek myths, are the personified deities of specific types of dreams such as nightmares and sexual dreams. The choreography for this piece is the choreographer’s response to the period of altered consciousness that occurs between wakefulness and sleep, where the veil between dream and reality is traversed. Thoughts become loosely associated, images are vivid and senses metamorposize.

The choreographer explains “this ‘altered state' provides fertile ground for my creative inspiration and investigation. This ‘state’ is made more delicious because it is difficult to remember when I am awake. Access to this world is fleeting; remembering thoughts and feelings is by chance. Memories evaporate quickly or mutate into entirely different creatures. Often all that is left is a fragment, a feeling, or a talisman with mysterious meaning. I wonder what universal forces are at work.”

This piece is accompanied by the scores 'Tenebrae 1' and 'The Dreams and Prayers of Isaac the Blind', by composer Osvaldo Golijov. His vision of transmuting ‘passion into geometry… longing, light and hope’ compliments my intentions for the piece. The music weaves together with the movement to help open a space between reality and dream.

The set employs natural material - sisal rope - to express geometric forms that move into different formations to physically express potential dream-state environments. The design is minimal to allow multiple interpretations on what it may mean or conjure for audiences. The form is geometric, yet the texture is human.


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