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CHAPTER  

9 

INTEGRATING  NEW TRENDS IN THE GRAPHIC DESIGN 

CURRICULUM IN NIGERIAN UNIVERSITIES 
 

Godwin O. Uka and Chidiebere O. Onwuekwe 

Department of Fine and Applied Arts, University of Nigeria, Nsukka 

 

 

Abstract 

The field of graphic design is constantly evolving, with new trends and technologies emerging 

all the time. To prepare students for careers in this dynamic field, it is important to integrate 

these new trends into the graphic design curriculum in Nigerian universities. This research 

explores the benefits and challenges of integrating new trends in graphic design curricula, as well 

as some of the most important trends that should be included. By integrating new trends such as 

augmented reality, minimalism, and bold typography into the curriculum, Nigerian universities 

can ensure that their graphic design graduates are well-equipped to meet the demands of the 

industry. However, challenges such as limited funding, a shortage of qualified faculty, and 

resistance to change may make it difficult to implement these changes. The research method 

employed was literature review. Despite these challenges, integrating new trends in graphic 

design curricula is essential for ensuring that Nigerian universities produce graduates who are 

competitive in the global job market.  

 

Keywords: Curriculum, graphics design, Education, Nigeria  

  

Introduction 

Graphic design curriculum standards are guidelines that define the knowledge and skills 

required for students to successfully pursue a career in graphic design. These standards provide a 

framework for designing and delivering courses in graphic design education at all levels, from 

high school to graduate programs. The graphic design curriculum standard in Nigeria is designed 

to equip students with the necessary skills and knowledge to become competent graphic 

designers in various industries. The standard is set by regulatory bodies such as the National 

Board for Technical Education (NBTE) and the National Universities Commission (NUC), 

which provide guidelines for institutions offering graphic design programs to follow. In addition 

to these organizations, individual schools and universities often develop their graphic design 

curriculum standards. These standards may be tailored to the specific needs and goals of the 

school or program and may be based on the guidelines provided by professional organizations. 



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One notable institution for graphic design education in Nigeria is the Yaba College of 

Technology (YABATECH), which offers a National Diploma (ND) and Higher National 

Diploma (HND) in Graphic Design. Other institutions offering graphic design programs include 

the University of Lagos, Ahmadu Bello University, University of Nigeria Nsukka, Nnamdi 

Azikiwe University, Awka, Federal University of Technology, Minna, and the Lagos State 

Polytechnic, among others 

   Graphic design education in Nigeria typically covers a range of topics, including design 

principles, colour theory, typography, illustration, digital technologies, and professional 

practices. Many programs also provide students with hands-on experience through practical 

projects and internships. 

This research explores the benefits and challenges of integrating new trends in graphic 

design curricula, as well as some of the most important trends that should be inclusive of them. 

 

Purpose of the Study 

Given the problem of the study, the paper shall ascertain the following; 

 

• To investigate the need to integrate graphic design curriculum standards in Nigeria 

Universities and other Tertiary institutions 

 

• Recent development in graphics design 

 

• To investigate the problems and prospects of incorporating new trends in graphic design 

curriculum standards in Nigeria Universities and other Tertiary institutions 

 

      

Graphic Design Education in Nigeria 

Graphic design education in Nigeria has seen significant growth in recent years (Ugwu, 2018), 

with an increasing number of institutions offering graphic design programs at various levels 

(Ogbonna & Okwuagbala, 2020). Graphic design education in Nigeria is typically offered at the 

tertiary level, including polytechnics, colleges of technology, universities, and specialized 

schools of design (Aina, 2013). 

 

Many of these institutions offer degree programs in graphic design, such as a Bachelor of Arts 

(BA) in Graphic Design, Bachelor of Fine Arts (BFA) in Graphic Design, and Bachelor of 

Science (BS) in Graphic Design (Ogbonna & Okwuagbala, 2020). Some institutions also offer 

diploma and certificate programs in graphic design, which may be shorter in duration and focus 

on specific aspects of the field (Ogbonna & Okwuagbala, 2020). 

 

Graphic design education in Nigeria typically covers a range of topics, including design 

principles, colour theory, typography, illustration, digital technologies, and professional 

practices (Aina, 2013). Many programs also provide students with hands-on experience through 

practical projects and internships (Ugwu, 2018). 

 



Interrogating Creativity and Innovation in Graphic Design Curriculum 

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One notable institution for graphic design education in Nigeria is the Yaba College of 

Technology (YABATECH), which offers a National Diploma (ND) and Higher National 

Diploma (HND) in Graphic Design (Aina, 2013). Other institutions offering graphic design 

programs include the University of Lagos, Ahmadu Bello University, Federal University of 

Technology, Minna, and the Lagos State Polytechnic (Ogbonna & Okwuagbala, 2020). 

 

However, graphic design education in Nigeria faces challenges such as inadequate funding, 

insufficient resources, and outdated curricula (Ugwu, 2018). Additionally, there is a need for 

industry partnerships and collaborations to ensure that graduates are equipped with the 

necessary skills and knowledge to compete in the global marketplace (Aina, 2013). 

 

Despite these challenges, graphic design education in Nigeria continues to grow and evolve, 

with a growing number of talented designers emerging from Nigerian institutions (Ogbonna & 

Okwuagbala, 2020). With continued investment in graphic design education and the support of 

the design industry, Nigerian designers are well-positioned to contribute to the growth and 

development of the design industry both domestically and internationally (Aina, 2013). 

 

Graphic Design Education Policy Making in Nigeria  

The graphic design curriculum standard in Nigeria is set by regulatory bodies and 

professional organizations to ensure that students are equipped with the necessary skills and 

knowledge to become competent graphic designers. The NBTE, for instance, has a set of 

curriculum requirements for the National Diploma (ND) and Higher National Diploma (HND) 

programs in Graphic Design. These requirements include general education courses such as 

Mathematics, English, and General Studies, as well as specialized graphic design courses such as 

Graphic Design Studio, Typography, Packaging Design, and Advertising Design. The NBTE 

also requires that institutions provide practical training and industrial attachment opportunities 

for students (NBTE, 2016). 

Similarly, the NUC has guidelines for the Bachelor of Arts (BA) and Bachelor of Science 

(BS) programs in Graphic Design. These guidelines specify that programs must include courses 

in Design Fundamentals, Drawing and Painting, Graphic Design Studio, Typography, and Visual 

Communication, among others. The NUC also requires that institutions provide students with 

practical training opportunities and that faculty members have relevant industry experience 

(NUC, 2014). 

In addition to these regulatory bodies, professional organizations such as the Nigerian 

Institute of Graphic Arts (NIGA) also play a role in setting standards for graphic design 

education in Nigeria. The NIGA provides professional development opportunities for graphic 

designers and advocates for high standards in graphic design education. 

 

 

Analogue teaching approach for Graphics 

Graphics design teaching then involves the arrangement of flat layouts of text and 

images for books, magazines, newspapers, advertisements, publicity sheets, posters, package 

and other products of printing processes. Design disciplines include, but are not limited to) 



Contemporary issues in the Visual Arts in Nigeria 

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graphics design, industrial design, textiles, fashion design, interior design, architecture, 

environmental design; experimental graphics and also all 2D and 3D designs of the Web pages. 

Graphic works are mainly produced on flat surfaces, which include all forms of 

print, printmaking, engraving, typography, photography, illustration and poster design. 

Others are advertising and publicity, television graphics, edition design and fiction, 

exploration of indigenous graphics design forms and materials, product and package design, 

creative design of machine parts and tools, architectural and sign graphics and recently the 

World Web and the computer interactive media, motion or multimedia have become part 

and parcel of graphics design. Graphics is a field of applied arts, which is directly 

connected with mainly two-dimensional picture art, and only packages, products and 

animation are three-dimensional. Package design is a small-size poster that informs the 

prospective purchaser about the content of a product. 

 

Digital teaching approach to Graphics 

 A graphic design project now may involve the stylization and presentation of existing 

text and either preexisting imagery or images developed by the graphic designer. Elements can 

be incorporated in both traditional and digital forms, which involves the use of visual arts, 

typography, and page layout techniques. Graphic designers organize pages and optionally add 

graphic elements. Graphic designers can commission photographers or illustrators to create 

original pieces. Designers use digital tools, often referred to as interactive design or multimedia 

design. Designers need communication skills to convince an audience and sell their 

designs/products. The work of the graphics designer is to communicate visual problems as 

presented by the client. In so doing, the designer starts by defining the most appropriate 

approach to implement creative and aesthetic solutions, which is a process of visualization.  

 

Recent developments in graphics design 

With the characteristics changes being brought about by scientific and technological 

developments and the need for education to be dynamic to respond to the changing needs of 

Africa and the world in general. Environmental Graphics Design (ECD) encompass many 

disciplines including graphics, architecture, interior, landscape and industrial design, it is all so 

concerned with the visual aspects of way-finding, communicating, identity and information and 

shaping the idea of creating an experience that connects people to place. 

Recently, Environmental Graphics Design was changed to more accurately reflect the 

expanding nature of communication in the built environment to society for Experimental 

Graphics Design. Augmented reality (AR) is a technology that has recently been integrated into 

graphic design, providing designers with new opportunities to create interactive and immersive 

experiences for users. AR involves the overlay of digital information, such as 3D objects, sound, 

or text, onto the real world through a device such as a smartphone or tablet. 

In recent years, the use of AR in graphic design has been explored in academic literature. 

Elbaek and Olander (2018) investigated the potential of AR in graphic design education and 

found that it has the potential to enhance creativity and engagement among students. Similarly, 

Rasmussen and Skov (2018) examined the use of AR in print advertising and found that it 

increased viewer engagement and recall of the advertisement. 

https://en.wikipedia.org/wiki/Writing
https://en.wikipedia.org/wiki/Image
https://en.wikipedia.org/wiki/Interactive_design
https://en.wikipedia.org/wiki/Multimedia


Interrogating Creativity and Innovation in Graphic Design Curriculum 

128 

 

Another aspect of AR in graphic design is the creation of interactive packaging design. 

According to the textbook "Design for Sustainable Change: How Design and Designers Can 

Drive the Sustainability Agenda" by Anne Chick and Paul Micklethwaite (2019), AR can be 

used to create engaging and informative packaging designs that provide users with information 

on the product, its origin, and its environmental impact. For example, a food package could be 

designed with an AR component that allows consumers to view information about the 

ingredients, nutritional values, and sustainability credentials of the product. In addition, AR has 

also been used to create innovative and engaging designs for exhibitions and installations. A 

study by Fernández-Vara and Mateas (2018) explored the use of AR in a museum exhibition, 

finding that it increased visitors' engagement and understanding of the exhibition's content. 

Another development in graphic design is Minimalism. In graphic design it is a design 

style that focuses on simplicity, using a minimal amount of design elements to create a clear and 

concise message. This design approach has been widely discussed in academic literature and 

design textbooks, highlighting its effectiveness and versatility in various design contexts. Helen 

Armstrong (2019), avers that minimalism in graphic design emerged as a reaction to the 

complexity and clutter of previous design styles. It emphasizes the use of negative space, simple 

typography, and a limited colour palette to create a visual language that is clean and uncluttered. 

This design style can be applied to various design projects, such as branding, packaging, web 

design, and print design. The effectiveness of minimalism in graphic design has been widely 

researched in academic literature. In a study by Eppink and Toet (2019), they found that 

minimalist design improved visual processing and attentional processes, leading to better recall 

and recognition of visual information. Similarly, in a study by Tuch, Bargas-Avila, Opwis, and 

Wilhelm (2009), they found that minimalist designs were perceived as more aesthetic and usable 

than designs with more visual complexity. 

Another recent development in graphic design is the use of Bold typography. Now it is a 

popular design technique that has been used for many years in various design contexts. Bold 

typography involves the use of heavier weights of typefaces to create a more significant impact 

and emphasis on the message being conveyed. This design approach has been widely discussed 

in academic literature and design textbooks, highlighting its effectiveness in various design 

contexts. Bold typography has also been discussed in the context of branding and marketing. In a 

study by Bell, Chakraborty, and Yu (2018), they found that bold typography was perceived as 

more attention-grabbing and impactful than regular typography, leading to higher recall and 

recognition of brand names. Bold typography can be used to create a unique brand identity and 

stand out in a crowded marketplace. 

 

Benefits of Integrating new trends in graphic design curricula 

Integrating new trends in graphic design curricula has several benefits, as supported by the 

following references: 

 

• Keeping up with industry demands: According to Faisal, Nasir, and Ikram (2020), 

"Integrating new trends and skills into the graphic design curriculum can produce 

graduates that have skills that meet industry standards and are equipped to meet the 

demands of the market." 



Contemporary issues in the Visual Arts in Nigeria 

129 
 

 

• Improved creativity: Kim and Joo (2018) found that "Exposure to new design trends and 

technologies can increase creativity in graphic design students, leading to improved 

design quality and innovation." 

 

• Enhanced relevance: According to Khaing, Sein, and Khaing (2018), "Integrating new 

trends in graphic design curricula can help to ensure that programs remain relevant and 

up-to-date, which can help to attract new students and maintain the quality of the 

programs offered." 

 

• Meeting global standards: The International Council of Design states that "Design 

education must prepare graduates to meet the demands of a rapidly changing profession, 

while still maintaining high standards and ethical values" (ICoD, 2017). 

 

• Improved competitiveness: According to Nielsen and Stelter (2017), "Graduates who are 

trained in the latest trends and technologies will be more attractive to potential 

employers, and will have a competitive advantage in the job market." 

 

Challenges of Integrating new trends in graphic design Curricula 

Integrating new trends in graphic design curricula presents several challenges, as supported by 

the following references: 

• Resistance to change: According to Hiltz and Hendricks (2019), "One of the biggest 

challenges in integrating new trends in graphic design curricula is the resistance to 

change from faculty and staff who may be comfortable with traditional teaching methods 

and content." 

 

• Limited resources: Kim and Joo (2018) note that "Integrating new design trends and 

technologies can be challenging due to limited resources, including time, funding, and 

access to new software and hardware." 

 

• Lack of industry input: According to Khaing, Sein, and Khaing (2018), "Integrating new 

trends in graphic design curricula can be challenging if there is a lack of input from 

industry professionals, who can provide insights into the latest trends and technologies." 

 

• Resistance from students: Jibril and Saidu (2019) argue that "Some students may resist 

the integration of new trends in graphic design curricula, preferring traditional teaching 

methods and content." 

 



Interrogating Creativity and Innovation in Graphic Design Curriculum 

130 

 

• Lack of teacher training: According to Faisal, Nasir, and Ikram (2020), "Integrating new 

trends in graphic design curricula can be challenging if faculty members are not 

adequately trained or experienced in the latest trends and technologies." 

 

Conclusion 

Graphic design curriculum standards provide a framework for designing and delivering 

courses in graphic design education. These standards help ensure that students acquire the 

knowledge and skills necessary to pursue a career in graphic design and help maintain the quality 

and relevance of graphic design education 

The integration of AR in graphic design has provided new opportunities for designers to 

create engaging and interactive designs. As the technology continues to evolve, we will likely 

see even more innovative uses of AR in graphic design in the future. 

The effectiveness of minimalism in creating clear and concise messages has been 

demonstrated through research, and its versatility in various design contexts makes it a valuable 

tool for designers. As sustainability and social responsibility become more important 

considerations in design, minimalism in design is likely to continue to be a popular and effective 

design approach.  

Bold typography is a popular and effective design technique. Its versatility in various 

design contexts, such as branding, marketing, and information design, makes it a valuable tool 

for designers. The use of bold typography can add impact, emphasis, and contrast to a design 

project, improving its readability, comprehension, and memorability. 

Integrating these new trends in graphic design curriculum in Nigeria poses several 

benefits respectively: Keeping up with industry demands, improving creativity, enhancing 

relevance, meeting global standards and improving competitiveness, and challenges thus: 

Resistance to change, Limited resources, Lack of industry input, Resistance from students.  

Inferring, and integrating new trends in graphic design curricula is essential for preparing 

students for the demands of the industry and ensuring that programs remain relevant and up-to-

date. It can also increase creativity and innovation, meet global standards, and improve 

graduates' competitiveness in the job market. 

 

 

REFERENCES 

 

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Chick, A., & Micklethwaite, P. (2019). Design for Sustainable Change: How Design and 

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