The mural was created and installed by Tori-Jay Mordey, and Warraba Weatheral.

Soda Factory Unveils Mural Created by Local Aboriginal Artists

West End’s reborn Soda Factory development has unveiled a stunning wall mural in the refurbished shopping centre created by two local Aboriginal artists, which connects the area’s significance for Aboriginal people with the more recent history of the site as the Tristram’s Soda Factory.

The mural was created and installed by Tori-Jay Mordey, an established Torres Strait Islander illustrator and artist based in Brisbane, and Warraba Weatheral, an installation and street artist from the Kamilaroi Nation of South-West Queensland.

The Soda Factory is nearing completion of a multi-million-dollar refurbishment which is paying homage to the building’s original use as a soda making and bottling facility for iconic Queensland soft drink brand Tristram’s.

A refurbished Coles neighbourhood centre is operating, and on completion The Soda Factory will include 22 specialty stores and 220 car park spaces. New travelators providing convenient access are now also operating.

The property’s developer SCA Property Group commissioned Blaklash Creative, a local 100 percent Aboriginal-owned creative agency specialising in Aboriginal art and design to curate the bespoke mural using local artists.

“We wanted to create a unique destination for shoppers and diners in West End and celebrate the rich connections that Aboriginal people have with the area which is reflected in this beautiful mural from two very talented artists,” SCA Senior Development Manager Aleisha O’Connor said.

Blaklash’s Co-Director Troy Casey, himself a proud Aboriginal man from Kamilaroi Country said they looked carefully at stories that could connect pre-contact and contemporary West End culture.

“West End is a historically significant place for Aboriginal people and continues to maintain a strong community feel,” Mr Casey said.

“Drawing from this narrative the artists made connections with the history of the area through native plant species which were used as food and medicine.

“This narrative is intertwined with the more recent history connected to the Tristram’s Soda Factory including the use of the bottlebrush flower which was used as a sweetener for flavouring drinks.

“These elements have been beautifully included in this colourful mural which helps describe the history and characteristics of the area.”

The official opening of The Soda Factory will be held in November 2021.

soda factory

The Soda Factory is undergoing a complete revitalisation of the building, including major upgrades to the mall scape and outdoor dining spaces celebrating its industrial heritage through materials and detailing to create a relaxed, timeless palette with an urban edge.

The refurbishment will include a new internal mall area, new travelators and lift, upgraded amenities, activated street frontage and redeveloped car park. The building’s heritage elements are being retained with a particular focus on restoring and rejuvenating the building’s main façade.

Designed by prominent Brisbane architectural firm Atkinson, Powell and Conrad, and built by well-known builder Walter Taylor the unusual Spanish Mission styled factory building was constructed in 1930 for soft drink manufacturer Tristram’s. The building remained in use by Tristrams until 1979 before it was sold and converted into markets.

Artist Bios

Tori-Jay Mordey

Tori-Jay Mordey is an established Indigenous Australian illustrator and artist based in Brisbane. Growing up she openly shared both her Torres Strait Islander and English heritage, which is often reflected in her contemporary Indigenous art practice – producing work based around her family and siblings as a way of understanding herself, her appearance and racial identity.

Warraba Weatherall

Warraba Weatherall is an installation and street artist from the Kamilaroi Nation of South-West Queensland. Weatherall’s practice critiques the legacies of colonisation; where social, economic and political realities perpetually validate Eurocentric ideologies. Drawing on his personal experience and cultural knowledge, he uses image, material and metaphor to contribute to a cross-cultural dialogue by offering alternate ways of seeing and understanding.

Photographs by RGC’s Luke Greensill 

BADC awards

The 2021 BADC Awards are Back from the Wilderness

The Brisbane Advertising and Design Club is now calling for entries from the Brisbane creative community as it brings back its awards after last year’s hibernation.

For the first time, the BADC Awards will cover two years’ submissions from 2020 and 2021. Entry validity is for all work published or aired from July 1, 2019 to June 30, 2021.

BADC president Stuart Myerscough said, “We were really keen to ensure that no work got left behind considering how much hard work has gone on. We made the easy decision to make two years of work eligible, which will mean tough competition across all our categories.

“Brisbane’s advertising and creative community is coming together again to showcase and celebrate the best in creative and marketing campaigns from a very high quality field.

“Our theme Welcome Back from the Wilderness will help encourage and inspire the community as excitement builds to our awards night to be held on 6th November, 2021. It will be overdue but welcome having the Brisbane creative industry together again under one roof.”

The main award category will once again be the Best of Show which was last won by Publicis Australia for their Great Barrier Reef campaign, scUber, for client Tourism and Events Queensland.

Key dates:
Entries Close: Monday 2nd August
Late Entries: Friday 6th August (30% late fee)
Awards Night: Saturday 6th November

Myerscough said BADC was thrilled to welcome back video ad delivery gurus Peach as platinum sponsor and presenting partner of the awards.

Peach is reinventing the way video ads get from edit to ad platform, broadcaster, social and more. Their technology unifies digital and linear advertising ensuring quality, ease of collaboration and distribution at speed: eliminating complexity, delays and costly mistakes.

Peach’s Business Development Manager APC Lauren Yelavich said: “Our relationship with BADC has been fundamental to our success in the Brisbane market over the past few years. We are excited to come out of the wilderness with you all and are committed to supporting the creative genius of Brisbane over the coming year. We look forward to what BADC has planned.”

Creative recruitment company DMCG Global joins the ranks of returning Gold sponsors supporting BADC in 2021 – O’Brien’s Accountants, Cutting Edge, The Post Lounge and Platypus Print Packaging. New Bronze sponsors joining include Compadre Picture Company,  and The Sound Pound with Ack Kinmonth Composer also returning.  Limited sponsorship opportunities are still available.

The BADC awards is Brisbane’s only creative advertising and design award. Further information is available from


Design So Bad, It’s Good?

Yep, it’s another article shamelessly inspired by Reddit, but here’s the kicker – the above sign front was discovered on the r/CrappyDesign subreddit – however, this sign is anything but that.

At first glance, the exterior of this Toronto burger joint appears poorly conceived, with the same vibe as a beat-up old van with “Free Candy” scrawled on the side in shaky text.

Not only that, but it looks like someone took a note out of John Mulaney’s guide to signwriting.

“Sure, I don’t need to trace it. I know how big letters should be.  Let’s start with a Big ole H, a Big ole A, a big ole M and… Oh No…”

But when you look closer you realise these choices are deliberate. The signwriting and internal artwork is a collaboration between Extra Burger (the actual name of the burger joint) and local artist Justin Broadbent.

Source: @extraburgerto

Broadbent’s design is clever, capitalising on the idea that little holes in the wall always have the best food. (Either that or you’ll be in hospital after the first bite – there is no middle ground).

Plus, it’s eye-catching, many people will do that initial double-take – wondering what kind of business owner would let their alcoholic uncle Bob have a go at the signwriting. As one commenter put it: “A $10 marker pen or a $1000 professional sign… You decide.” And it’s that’s a second take that most other dime-a-dozen burger joints will never get.

Even their website follows that same “handmade” feel. It’s big, it’s loud; but it further succeeds in tying together the whole theme and is reminiscent of Broadbent’s own website. On its own, it’s not one of those websites a developer would regularly make for its clients, but it’s a perfect example of being fit for purpose.

Source: @extraburgerto

The interior is simple, modern industrial. Yep, it’s another one of those grungy hipster joints with interesting combinations – in this case; pairing fine wine with fast food.

Somehow, when you take everything into consideration, there is synergy here. All the slightly sketchy elements that go into making HAMBURGERS, are together, a fantastic example of something being “greater than the sum of its parts.”


Villain Now An Award Winner

Villain is proud to announce its first major award sharing in a Bronze PICA (Print Industries Craftsmanship Award) for best offset printed brochure or book after having the Villain designed & managed Aquis Farm Stallions 2016 booklet submitted to the Print Industries Association Australia (PIAA).


Print manager Dave Guyatt who nominated the Aquis Farm project for its nominated category was naturally rapt with the award.

“I was thrilled to receive the award. Many long hours and a tight schedule were part of this job and for it to come away with a bronze was a great result for my team as well as my client Villain and obviously their client Aquis Farm.”

Designer and Project Manager Chris Ahern said it was a fantastic team effort that required foresight and a ‘gutsy approach’ from the client in addition to a ‘can-do’ attitude from print and paper suppliers.

“Dave (Spot Productions) and Corinne (K.W.Doggett Fine Paper) were fantastic throughout the process. After the initial brief with Aquis Farm management, it was made clear to us that this particular piece was not only going to be the major marketing vehicle for their new stable of world-class stallions, it was also going to be the flagship promotional item of their new brand identity.”

Initial Concept Mockup

Initial Concept Mockup

“It needed a quality design and a sophisticated finish and we set about preparing the team that could deliver that.” “Turns out, that team is now an award winning one which I couldn’t be prouder of.”

“It has fuelled the fire for us to get more of our great work in front of some industry eyes in 2017.”

From concept to completion, The Aquis Farm Booklet carried the emerging Aquis Brand through purposeful embellishments, thoughtful paper stock and an earthy, tactile finish befitting a dynamic and prestigious industry steeped in tradition. Ahern said the Stallions booklet for 2016 is the first piece of the puzzle in creating that level of sophistication the brand needs to thrive in an industry where others don’t seem to have positioned themselves accordingly.



“We’ve worked hard with Aquis Farm throughout 2016 to develop an emerging identity within the thoroughbred racing industry that positions them as the Premier Thoroughbred Farm In Australia.”  “We identified an opportunity for Aquis Farm to leapfrog some competitors and this seems to be happening already.”

“To be a leader in its space is a long-term goal for Aquis Farm but one which seems attainable at an ever-increasing pace because of their rapid success.” This is all down to the forward-thinking staff at Aquis Farm which always brings out the best in us.”

“They challenge us and we challenge them… it’s a healthy, robust relationship that keeps us producing good work at a fairly sharp rate.”

The case study behind the production of the Aquis Farm Stallions Booklet can be found here.

Villain whole-heartedly thanks all involved in the process, especially the PIAA for recognising the work.

Design Is The Missing Innovation Ingredient


In response to Australia’s National Innovation & Science Agenda, the Australian Design Alliance [AdA], made up of fourteen peak national organisations, has identified a key area in Australia’s Innovation Eco-System that is missing.

Innovation and design are natural bedfellows, but this important connection has not been made in the Turnbull government’s newly released draft Innovation agenda, according to the [AdA].

This is a major omission.

Leading European economies embrace design as a sophisticated problem solving tool that is understood to provide an essential competitive advantage.

Whilst the [AdA] has praised Prime Minister Malcolm Turnbull for his leadership and the whole of Government exemplary approach of his team, it believes that there is an opportunity to build Australia’s economic capacity which may otherwise remain unfulfilled.

[AdA] Executive Director Jo Kellock said:

“[AdA] is keen to work with the Government to demonstrate what enormous advances are possible. Learning from our counterparts in Europe and Asia would mean improving on their ‘Design-Led Innovation’ platform. We believe that opening opportunities for the application of design to challenging problems will achieve substantial economic outcomes for Australia.”

Kellock goes on to say that:

“The process of design has important roles to play in collaboration, particularly in biomimicry and the application of advanced materials and process engineering, in skills development and knowledge transfer and in ICT at the interface between man and machine.”

[AdA] has recently been reviewing its own strategy and has a 12 month design policy initiative kicking off next week to develop a considered response to today’s announcement.


The [AdA] is a self-funded not for profit advocacy and facilitation organisation, with a combined membership amongst the alliance organisations close to 150,000 with a broader reach to over 500,000 design professionals.