Nigerian born Oyinkan Karunwi has taken an unconventional route into the design world. After graduating with a degree in law she started her career working in corporate law, whilst doing freelance design work on the side before deciding to pursue her love of being creative full-time.
Oyinkan got her first taste of graphic design whilst at university, designing flyers and posters for events, and this opened her eyes to the potential of design as a career option. After freelancing for some years as a self-taught designer and wanting to pursue design as a full-time career, she realised she needed some formal training to give her a deeper understanding of design theory and the creative process. A friend recommended she sign up for the Shillington design course in New York and it felt like the perfect fit. As Oyinkan aptly puts it, she learnt, “that inspiration doesn’t happen accidentally, there is actually method in the madness.”
After completing her course in 2019, Oyinkan returned to Nigeria and set up design studio Aseda Design with her business partner and cousin Tobi Karunwi. Combining their skill sets, they specialise in strategic branding which allows the client’s voice and ethos to shine through. Oyinkan believes her legal experience has been invaluable because she is confident when pitching ideas to clients and unphased by negotiating contracts and budgets, which can be challenging for creatives new to running a business.
Oyinkan believes that one way to amplify the voices of African designers is to challenge the perception of African design which she feels can often be stereotypically characterised as, “rough edges, ethnic feel, textured, tribal-inspired aesthetic.” In the future she hopes to inspire young creatives in Nigeria, encourage to them to break with tradition and see that the creative industries offer a variety of viable and rewarding career paths. “I believe that the more African designers are seen on social media around the world, featured on design blogs and collaborate across borders, the more we can start to challenge the stereotypes.”
We chatted to Oyinkan to find out more about life as a young designer in Nigeria and how her law background feeds into running a design studio.
Why did you decide to become a designer?
I just loved the idea that I could create something and see it come to life in such a tangible way. My first designs were posters for university parties – and when I saw the posters I designed all over campus – it was like a shot of adrenaline! Over time, as I’ve transitioned into brand strategy, I’ve come to fall in love with the power of design to bring ideas to life and really help people connect with their customers / clientele.
Why did you study at Shillington and what do you know now, that you wish you’d known when you started your design course?
My career path is interesting because I studied law at university and was a self-taught designer for a few years. In 2019, I attended a three month course at Shillington in New York. I was looking for a way to fully transition into design, being self-taught means that you’re piecing information together as you go along and have no theory or knowledge that connects everything. I was also drawn to the Shillington course because of the time frame as a career changer and how it’s a deep dive into what it’s actually like to be a designer now.
It hasn’t been that long but if I could go back to Oyinkan on the first day of Shillington I’d tell her not to play it safe and to take more risks.
Does your law background feed into what you do now as a designer?
I always felt that I was creative but my education was very traditional and because I wasn’t considered naturally gifted at drawing and painting I felt I should pursue an academic career. I’m naturally curious and interested in history, economics and politics so the social sciences felt like a natural progression at the time. It wasn’t until I was at uni studying law and playing around in Photoshop that I realised that design was something that allowed me to express myself creatively and really enjoyed.
Brand strategy I find really interesting because a lot of the skills I gained as a lawyer have been transferrable in terms of research, doing proposals and putting presentations together. I rarely get nervous about presenting to clients or negotiating money – my corporate law background means I’m used to the service industry. I’m very up front about negotiating and discussing money and I’ve also learnt a lot from Chris Do. I think people find it nerve-wracking when it’s a service as opposed to a product. With a service you’re ascribing value to yourself and what you’re providing to people. It feels intangible, which is why I think designers can struggle on that front. Because of my legal experience, I understand you have to put a price on how much time you spend and you’re the value that you’re giving someone.
How have you grown and developed throughout your career so far?
I have grown more confident in my strategic and creative process. When I first started designing, I used to be terrified that I would not be able to come up with anything great or that inspiration wouldn’t ‘strike’. I’ve learnt now to just trust the process and that most of the work happens before I even put pencil to paper to sketch!
Has being female impacted your career so far?
What I have found is that behind every women is a tribe of women – ready to encourage and support her and her business. So many of my clients have been women and I’ve found them to be my biggest supporters, best clients and the most amazing marketing team I could ask for.
How do you think the design industry can help to amplify the voices of African designers?
I find that what happens a lot is that people have this preconception of what African design looks like – when studios do a project with an African slant to it – it’s the rough edges, ethnic feel, textured, handwriting tribal inspired aesthetic. What could be interesting is for people to start looking beyond that, because if there’s a wider breadth of African voices contributing to the creative industry then people will see there’s not just one style. There are many ways to be African and creative. I believe that as more new designers are seen on social media around the world, featured on design blogs and collaborate across borders, we can start to challenge the stereotypes and I think this would be really interesting to see. Creative education is a huge factor and something that I’d really like to do in the future is to give back to creative education here in Nigeria. In Nigeria it is very much that you train to be a doctor, engineer or lawyer; but I believe that is changing now and I would like to be a part of working towards opening up young people’s minds to the possibility that they can thrive and have a successful career in the creative industries.
Where do you get your inspiration from and how do you approach a new project?
I am inspired by other creative disciplines such as poetry, architecture and art, particularly African art. When I can, I take myself on solo dates to galleries and art markets just to take in all the textures, colours, expressions and layers of meaning. Being a Christian, I believe that God is the ultimate creator and I am also very inspired by the vastness of nature and all created things.
Before I start a new project I spend time meeting with the client and getting to know them and the project, from their perspective. I then deep dive into researching their industry, clients and market trends. I cannot over-emphasise how important brand strategy has become to my process. Once I have a firm foundation of strategy, I can start to draw on inspiration and to decide on a creative direction. All this happens before I even start to sketch out ideas for the project.
What top tips would you give to current design students or women considering a career in the design industry?
I wasn’t a design student too long ago, but I would advise students to definitely take more risks and constantly explore new styles / inspirations / techniques.
I’d also advise them to be kind to themselves and not compare themselves to other creatives but to be committed to learning and growing as designers.
I’d advise women in the creative industry to leverage their networks and learn to sell what they do. You’re always going to know someone who knows someone, who needs great design work – so don’t be afraid to put yourself out there and pitch your services.
Which female designer/artist/thinker/photographer has most inspired you?
Maya Angelou. Her words – which I first read as a young teenager – had such an impact on me before I even discovered that I was creative. I have always felt that her books sparked my love for literature, art and creative expression. She also lived such an unconventional and full life as a dancer, singer, author, poet and activist – and that has always inspired me to live a life where all parts of who I am are given full expression. Her life and words will always mean so much to me.
Where do you see yourself in five years’ time?
In five years I hope to be a part of a movement of creatives that amplifies authentic African stories, brands, creativity and expression. I’d also like to actively be paying it forward for the next generation of Nigerian youth and be involved in showing them that creative careers are attainable and can be incredibly rewarding.
Who are your top five female design crushes currently working in the industry?
This is hard to answer! I have so many but right now I’d say my top crushes are:
- Paula Scher (forever)
- Badal Patel
- Jessica Walsh
- Veronica Fuerte
- Kati Forner