3 Years Since Shillington: Rinsanga Leivang.

Rinsanga Leivang started Shillington as one of the youngest people in the room, braced for an intimidating, competitive space. What he found instead was a supportive design community.

Hey Rinsanga. Before enrolling, what was your perception of "graphic design" and how has that definition changed for you now?

I used to think graphic design was limited to superficial posters and social media posts. It's changed a lot since then, and I can see how much more depth and weight successful design has, whether it's simple or complex. I'd switch my definition to something similar to Law Roach's title of "Image Architect" on Project Runway.

Was there a specific moment, project, or person that pushed you from being "design-curious" to "design-committed"?

I think it was sometime during my course when we were working on our "I love these geniuses" presentation, and I was looking at the work of a young graphic designer, Yoan Putra. Their work wasn't conventional at the time in a graphic design sense, but it did so much with its early material and narrative. It was the early start of the experimental cyber Y2K direction, and while it seemed pretty bold and experimental at the time, I see it almost everywhere today. It reminded me of how Saul Bass's work was revolutionary for its time as well, and just how extensive and important design is in our everyday lives despite how often it can be overlooked. I guess after that point, I recognised the weight that design has, and it made me want to develop mine further.

Rinsanga's Editorial project at Shillington, Nomad.

What assumptions did you have about design or design education that Shillington proved wrong?

I guess an assumption I had was that it would be an intimidating space with people who were miles ahead of me in terms of creativity and design experience. It was the complete opposite. Everyone was so supportive and friendly, and I could be myself during the course.

On your very first day, what were you most nervous about and how did that play out?

I was nervous about meeting new people and whether it would be an isolating experience, especially being the youngest person on the course. Thankfully, everyone at Shillington was so warm and friendly, and I ended up making some friends in the first week of the course.

What skill or mindset did you develop at Shillington that you use every single day now?

I still use almost every single skill I learnt at Shillington, from the design software, especially Adobe, to the methodologies for carrying out a branding project or logo experimentation. As an extension, a mindset I still use every day is simply being empathetic to the client and audience's needs in a project, and putting those ahead of mine when it comes to design.

What was the hardest challenge you faced during the course and how did you push through it?

I think the hardest challenge I faced was being open to failing. Early in the course, my biggest fear was to do something wrong or design something that wasn't up to standard. I had to learn to overcome this, letting my guard down and allowing myself to fail and grow from it. That really helped me develop as a designer through the course.

Can you describe a project from the course that made you feel like, "Yes. I can actually do this"?

I was working on our first branding brief for a DJ school called Stems, and it was the first time working on a brief from ideation all the way to creating a logo and early assets. Up until that point, a lot of the work we did focused on understanding technical aspects of design. However, being able to work on a brief with such depth in concept building made me see the full scope of design, and it made me realise that I do have what it takes!

How did learning in a studio-style environment impact the way you think and work?

Learning in a studio-style environment helped a lot, because of the spontaneous nature of the design process. Being able to walk around, interact with other students and bounce ideas throughout the day was something that shaped my experience at Shillington for the better, and it's something that continues in my design practice today.

What's one piece of feedback you received from a teacher or classmate that changed your work for the better?

I remember my teachers would constantly remind us to scrap the first idea that came into our heads when working on a project. It helped me push my ideas and concept building even further, which is something extremely important in design. Finding unique ways to connect with an audience and not have it feel one-dimensional is something that changed my work for the better.

Rinsanga's Company Rebrand project at Shillington, Gena*.

How did the fast-paced, real-world briefs shape your approach to problem-solving or creativity?

It was a challenge at first, but it helped me get comfortable with the chaos, working around the time constraints and not having them work against me, which is something I still prioritise in my work today.

Talk us through your portfolio: what story were you trying to tell about yourself as a designer?

My portfolio is definitely not demure and understated. My biggest tool in design was being very particular with colour and how it helps communicate the tone and mood of each brief. I think the boldness of using an intentionally loud colour palette can do a lot for expressing personality and life in a project, and it's one of my strong points.

Has your favourite portfolio project changed since graduating? If so, why and how?

At first, my favourite project was HÄX, a fun Tarot-inspired branding for a non-alcoholic beverage brand. Since graduating, my favourite project has shifted to NOMAD, where I designed an editorial cover and spreads for an unconventional travel magazine. I think the switch was influenced by the positive reactions I received, particularly because it helped me land one of my current roles designing layouts for a coffee-table book. I also appreciate the symbiosis achieved between my choices of bold contrasting colours and imagery. Even though it's been almost three years since I worked on it, I can still see it existing today.

How did you land your first opportunity (big or small)? What opened that door?

It took a bit of time finding my first role, though most of my initial projects after graduation were designing exhibition posters and zines for workshops and art shows. My first official freelance position came a couple of months later, when a representative at Major Players agency reached out through LinkedIn for a freelance project with Five Guys. Thanks to the portfolio I'd built since graduating, I was able to land that role, and I've been freelancing ever since.

What's something you learned in the industry that you wish you knew while studying?

It's something that was probably mentioned during the course, but the reality is you won't always be working on projects that are bold and exciting in the real world. However, when I get the opportunity to work on something fun, I channel the creative streak I had at Shillington and make the most of it.

Where do you go when you feel creatively stuck? Tools, people, routines, or spaces?

Honestly, I do anything that's completely unrelated to design. It could be anything from watching old episodes of The Wendy Williams Show to reading a book on the history of mermaid folklore. I think a lot of design and overall creative inspiration can come from the most unexpected places, and it can even create space for more depth and well-rounded conceptual skills in the back of my mind. I guess it's part of the human experience, but it makes a real difference in how my work can evolve to connect better with people.

How has design influenced the way you see everyday life? Brands, objects, cities, culture?

I feel like I can't escape it now. Every day, when I'm in the tube station, walking around Sephora or even getting groceries, I'm constantly observing how design and storytelling are being used (for better or for worse). It makes me more aware of changing design trends, and it can be a good indicator to try doing something completely different instead.

What's a creative risk you took recently that paid off?

A recent one was when I worked on a textile embroidery pattern for a border detail and I was experimenting with different iterations in Illustrator, from minimal to maximalist. Before I showed it to my boss, I decided to include a variant that was initially a scrapped experiment, but I didn't want to give up on it just yet. As it turned out, keeping it was the right choice, because it ended up being the direction we took in the end!

Rinsanga's Packaging project at Shillington, Häx.

How do you stay connected to classmates or the wider design community?

We have a group chat that we connect on, but we've all been pretty busy since graduating. We've been meeting at least once a year for a little reunion, but I've become really good friends with Chloe from my cohort. Today, we both live and work just minutes away from each other near Liverpool Street!

If a future Shillington student asked for honest advice, what would you tell them that isn't on the website?

I'd tell them that this is their moment to try anything and everything within their creative ability, and not to be afraid to mess up, since it's all part of the learning experience. The teachers are there to guide you, and if you want to make the most of it, challenge your current creative scope without worrying about the end result immediately. Also, if your course is online, get a second monitor so you won't struggle like I did.

If you could collaborate with anyone (a brand, studio, artist, cause), who would it be and why?

At the moment, I'd love to collaborate with music artists like PinkPantheress and F5ve. What really intrigues me is worldbuilding, and I feel like their visual storytelling encapsulates their narratives in such unique ways, whether it's PinkPantheress's "Fancy That" era with bold, cheeky London themes or F5ve's Harajuku digital kitsch aesthetics. I think I'd have a lot of fun helping them develop future projects.

Looking ahead, what kind of designer do you hope to become?

I hope to become a designer who is constantly open to change and evolution. I'd never want to become too static in my creativity, whether it's through my design style, skills, projects or even a general outlook on life. However, if there's one thing I wouldn't want to change, it would be my sense of empathy throughout my work. Having that openness to other perspectives is what I believe makes a difference in a designer, and I'd hope for that to continue.

Imagine your dream day five years from now, what does your creative life look and feel like?

Five years from now, I'd hope to be in a place where I can work remotely on creative projects while maintaining my art practice. Say I'm working on a design project during the day, and by the evening I convert my space into an art studio where I can experiment with my work and feel inspired. Hopefully with an aquarium somewhere too, but I'm not too fussy.

Shillington gave Rinsanga the space to fail, experiment and find a voice loud enough to build a career on, in a matter of months rather than years.

If Rinsanga's story has you thinking about your own, our graphic design course could be where it begins.