Jerry Loi

Hi, I'm Jerry Loi Sie Han. A communication designer based in Kuala Lumpur with a knack for turning ideas into magical visuals. Let’s create something that sparks wonder and levels up your brand.

MR DIY

MR.DIY offers a wide range of affordable tools, home items, and solutions for everyday household needs. This rebrand aims to reposition MR.DIY as a modern, reliable, and design-conscious brand that offers more than affordability — it offers the right tools for the right fit.

ShaShinKi

Shashinki is Malaysia’s leading camera equipment store. The
logo is inspired by the concept
of depth of field, emphasizing a sharp subject set against a gently blurred background to capture attention with precision and focus.

Fuzhou LeyPia

Inspired by the traditional Fuzhou LeyPia delicacy, this gift box takes the form of a graceful table runner, symbolizing hospitality and celebration. Delicately adorned with swallows and blooming peonies, it pays homage to the rich culture, warmth, and refined beauty of this cherished treat. Complementing the design is a unique hexagon-shaped box, reminiscent of a classic dining table, bringing people together in the spirit of sharing and tradition.

Borneo Rhythm

The Borneo Rhythm Music Festival is a vibrant annual celebration set in the heart of Sarawak’s lush rainforests, showcasing global music and rich cultural traditions. My design captures its dynamic spirit through a bold tropical color palette, duo-tone and overprint effects, and a custom font featuring motif-inspired elements, reflecting the festival’s fusion of tradition and modernity in a fun, inclusive way.

Hidden Warrior

Hidden Warrior is a publication inspired by the secretive world of ninjas, featuring dark visuals and an unpredictable layout to reflect their stealth, mystery, and dynamic nature.

Acknowledgement of Country

The School of Design and Architecture respectfully acknowledges the Wurundjeri peoples of the Kulin Nation as the Traditional Owners and knowledge-keepers of the lands, waters and sky that surround us, where we work, learn, create, communicate and make place. We recognise that sovereignty has never been ceded and this always was and will always be Wurundjeri Country. We pay our respects to Elders past, present and to all Aboriginal and Torres Strait Islander people who continue to make a better world through design.

We extend our acknowledgement to the Aboriginal and Torres Strait Islander staff, students, alumni, real-life clients, and knowledge keepers, who have contributed to our own education diversity and growth. We will continue to ensure that staff and students respectfully honour ancestral connection to Country and Place in everything that they do.

We are dedicated to the notion of design to make a better world and we acknowledge that making tools, shaping place, sharing stories, making meaning, wayfinding and collaborating have long been and continue to be both central and integral to First Peoples' cultures. We recognize that Aboriginal and Torres Strait Islander Peoples’ cultural contributions have continued relevance to design practice and commit to: reconciling ancestries of design and contemporary practice as well as pursuing culturally and professionally appropriate ways to engage with a diverse population of colleagues, industries and clients. In a time of treaty-making and voice we understand that there are overlaps between caring for Country and the sustainable production of goods, services, experiences, products and buildings.

Guided by the principles of respect, reconciliation, and reciprocity we undertake to indigenising and decolonising design practice by dismantling colonial structures and challenging biases that have marginalised Indigenous voices and design.

As students of SoDA you will be given opportunities to both engage with and educate yourself in Indigenous creative practices and cultural protocols through a lens of inclusivity, diversity, respect, mutual understanding, inter-cultural dialogue in all aspects of design practice. Indigenous people have been telling stories, making tools, and connecting to Country through visual media, placemaking and place marking for more than 60,000 years and these practices are part of an ongoing, evolving and live tradition.