Tina Touli is an award-winning designer, artist and creative director at the centre of some of the industry's most exciting and innovative projects. Working with clients such as The New Yorker, Tate, LinkedIn and Adobe, Tina's diverse skillset has seen her working in a range of creative disciplines from bold typography, branding, graphics and animation.
Working at the convergence of tactile and physical, Tina takes a unique approach to design, balancing functionality and aesthetics to create her distinctive style. As part of our Day in the Life series, I caught up with Tina to discuss her recent work with the Pentawards, her role as an educator and the golden career advice she'd give her younger self.
Could you walk me through a typical day in your role?
My day usually involves drinking about 8 cups of tea and switching between 2-3 different projects. I love juggling multiple projects because I can dive into something different when I hit a roadblock or need a fresh perspective on another. And, of course, spending as much time as I can every day experimenting and exploring new mediums and techniques! Music is a must – it’s always playing in the studio, keeping the atmosphere lively. I also exercise during breaks, which helps clear my mind before returning to work.
What was your early career like?
When it comes to jobs in my early career, I did not manage to last for more than a few months in any of them. I quit my first job after just 10 months; on my second job, I quit after just 7 months. At my last job, I handed in my notice just a couple of days after the end of my probation period. Don’t get me wrong – I really enjoyed working in all those studios. I had some awesome colleagues (who I still enjoy hanging out with!), and I loved the projects I worked on. It just felt that the 9 to 5 work routine was draining my creativity.
I did not have a clear plan on what to do next; I just knew that I wanted to get out of this 9 to 5 “prison”
Stagnation has always been my greatest fear. The excitement of something new and unexpected motivates and keeps me going. I did not have a clear plan on what to do next; I just knew that I wanted to get out of this 9 to 5 “prison”.
The only thing I had was a project with a very low budget that seemed idyllic to me at that point. I could survive for two months, paying my rent and bills in London, cycling for commuting (who wants to endure a packed London tube anyway?), eating pasta and frozen pizza every day and drinking soda on my nights out. That was promising enough to keep me going! It might sound miserable, but it was the happiest period of my life – up until that point, at least! I could spend every hour of my day doing something I loved, something I would do if money didn't matter.
Tell me about a tricky work-related challenge and how you approached it
What excites me most about design is its limitless potential. I enjoy constantly experimenting – exploring new mediums, techniques, and processes – to refresh my creativity. Each project presents unique challenges, big and small, and that’s what I love most!
For example, while working on the Pentawards 2025 identity, the biggest challenge was shaping the pentagon within the physical liquid composition. It had to be perfectly positioned and scaled to work seamlessly across various applications, from social media to print. After carefully exploring all possible ratios and scales, ensuring that the pentagon stood out dynamically and remained visually engaging in every context was both a challenge and a rewarding experience.
Which project are you most proud of and why?
It’s hard to pick just one project to discuss, as each has a unique story and creative process. Some I’m proud of for the final result, while others stand out because of the experience of bringing them to life. It’s hard to pinpoint just one! That said, the identity for Pentawards 2025 was one of my favourites due to its originality, the fun process of creating it, and, of course, the lovely collaboration with the Pentawards team.
Tell me about your work with the Pentawards
Experimentation is at the heart of my process. I was so excited when I received this brief; it felt like the perfect opportunity to push creativity to the next level. I decided to use oil and water-based liquids as the core technique for creating this identity. These liquids don’t mix, which allowed me to craft mesmerising graphics by hand and capture them with a camera. It was a journey of exploration, full of surprises.
Just like liquid flows and transforms, great design continuously evolves to balance functionality, aesthetics, and innovation
The identity is inspired by the adaptability of liquid, which reflects the dynamic nature of packaging design. Just like liquid flows and transforms, great design continuously evolves to balance functionality, aesthetics, and innovation. The vibrant liquid elements in this project symbolise the fusion of creativity and practicality, with different ideas and materials coming together to create exceptional packaging solutions. At the heart of the visuals is the pentagon symbol of the awards, which emerges from the negative space within the fluid composition. Bold typography and vibrant colours tie everything together, creating a striking, premium look across various platforms.
A fun fact: I was introduced to Pentawards when I was just starting out in design at university. I remember how much I loved their publications featuring the award winners. When I received the invitation to collaborate with them to develop their identity for this year’s edition, I got really excited, as it brought me back to where I began all those years ago. These were special memories, so I felt like this was a really special project for me to work on.
How does the convergence of the tactile/physical influence your work?
Everything around us can be a source of inspiration and an object of investigation. It can serve as an idea, sketch, draft, or final outcome. Anything that stimulates my senses can spark creativity, whether it’s a hole in a piece of paper, a glass of water, the ribbon we use to wrap presents, or even a sketchbook as an object itself.
There is so much inspiration in the physical world that we often overlook, yet it holds endless potential for our work. By exploring these aspects, we can uncover new creative territories and develop unique designs – simply by experimenting and trying things out. I strongly believe that the more unexpected the source of inspiration, the more likely it is to lead to genuinely original work. And the physical world offers us that unique yet simple inspiration to spark our creativity.
How inclusive is the design industry in 2024?
The design industry is more inclusive than ever, with a strong focus on accessibility, diversity, and representation. Many companies take it seriously, but there are still gaps, especially in leadership.
It’s definitely improving, though there’s still a way to go. I also think some design awards help drive inclusivity in the industry; the work is judged on merit - not the university you studied at or the employer you work for. Students’ work can formally be assessed by some of the most respected and knowledgeable designers and it presents a strong opportunity to accelerate and launch new careers. Pentawards does this particularly well with its Students category.
Could you tell me more about your role as an educator?
Teaching is not just about sharing your knowledge but also about learning! It can be from just a feeling of satisfaction from helping others, pride in achievement, or a whole new idea that you came up with while experimenting with the students. You exchange thoughts and ideas, improve your communication skills, and, of course, understand the subject you are teaching better and deeper.
It is an excellent opportunity to share processes and learnings, open conversations, and inspire and motivate each other. For me, being a designer and an educator are very closely related. Teaching is another creative brief that I am working on.
What are your favourite tools?
My hands! I love experimenting with different mediums, techniques, and processes by hand; it keeps things fresh and exciting. Grab the first object you see around you and explore its possibilities. What are the strengths and weaknesses of your object? What is interesting about it? The material? The movement? The shape? The texture? You don’t always need the perfect plan to get started. Just use your hands and start exploring, experimenting and simply trying things out!
What’s your dream project/dream client?
Having diverse creative skills enables me to work in various design fields, including print and digital design. I love working with a diverse range of clients, whether they are bigger companies and organisations such as Adobe, Dell, Converse, and HP or smaller ones. For me, there is no dream client or dream project. It's creating something different from what I have done before, allowing me to learn and evolve! My goal is always the same: to turn every single project into the “best” project I have ever created.
What career advice would you give your younger self?
Do more of what you love – that’s what you’ll excel at. Stay persistent in chasing your goals and dreams. Keep creating, sharing your work, and finding joy in the process. And don’t forget to appreciate the small wins along the way. The best designs happen when you’re having fun creating them!
