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CHAPTER  

11 

FUNDAMENTAL ISSUES IN GRAPHICS DESIGN CONCEPTS: 

CREATIVITY AND INDIGENOUS INNOVATION IN NIGERIA 
 

 

Godwin O. Uka and Kasi  Jockeil Ojike 

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

 

Abstract 

The quest for design in general and graphic design practice in particle has led to the conceit of 

creativity and innovation often used interchangeably in design practice.  In most instances, 

creativity is usually considered as an internal and national process of creating a new idea, while 

agreeing that innovations are the fulcrum of the implementation of such ideas. This position 

unwittingly placed the idea as a global force and appears increasingly inevitable, as many experts 

find it difficult to establish and maintain a competitive edge despite an increase in the number of 

indigenous innovations and creativity. This in turn has affected indigenous enterprises and 

sustainability, especially in the digital era. Hence, this paper seeks to examine the fundamental 

issues in graphic design and how visual data could help to formulate creativity and indigenous 

innovation, using the theory of diffusion of innovation and visual perception that supports 

indigenous creative endeavour in Nigeria. The underlying logic and finding of the paper hence 

the recommendations thereafter reflect on the question of indigenous innovation and creativity in 

the graphic design concept. 

 

Introduction 

There is always a need to progress and change in any developing nation, which could be 

as a result of new technology and possibilities or because of changes in the world. Innovation 

could be used as a term to mean progression and adapting to changing conditions. The opposite 

of innovation is 'stagnant' or, at least, 'complacent'. A readiness to do something new is required 

for innovation. But anything new is viewed as a risk in most African developmental processes or 

still as a distraction from the normal routine. There is every need to commit resources to 

anything new. 

Innovation and creativity in the African context have increasingly come to be seen as a 

response to the condition Africa has been subjected to by the world. Innovation and creativity 

describe the adaption of tradition to new challenges. African appropriation of external inputs, the 

endeavour to integrate these inputs into their lives, and most importantly, their response to the 

ever-new situations that result from innovation itself are important for future development.  



 Fundamental Issues in Graphics Design Concepts: Creativity and Indigenous Innovation… 

 

144 

 

Innovation can happen if there is a readiness to try new things and if a habit of exploring new 

possibilities is developed, it will help and be beneficial to African development. Creating a 

climate of acceptance for every new possibility is very difficult. There is a need for someone to 

be sensitive to what is happening elsewhere in the same field and to what is happening in the 

world.  

There are many myths about creativity. There is the belief that creativity is a mysterious 

talent that some people have and others can only envy. Anyone can learn and practice the 

thinking skill of creativity. Some people might be better than others, as with any skill - such as 

driving, cooking, tennis or soccer, art and design and others. Innovation is the introduction of 

something new to an organization or culture. One might do this by copying someone else, by 

systematic, intuitive, logical design or still through direct and deliberate creativity. However, 

there must be a readiness to explore and implement new ideas. Innovation means putting into 

effect something new for any organization, association, community or nation. There may be 

many sources for what is 'new'. 

A professional designer’s role is to enhance living by applying a developed sense of 

aesthetics and utility to the design of a human-made world. 

 

Innovation through Creativity  

Africa can be seen as a laboratory of a multiplicity of actors engaged in experimenting 

and exploring with a multitude of innovations. Empirical studies can be either in-depth case 

studies or follow a comparative approach. In addition, some comparative studies may even 

include cases from regions outside Africa. The envisaged research may include all fields of fine 

and applied arts or industrial design (global exchange, environmental and climatic change. 

However, in this respect specific attention to socially relevant innovations and emerging 

orders may be identified for example cities as spatial emphases of change; artists, designers, 

musicians and young people as particularly innovative actors; new forms of political order; 

religious groups, or civil society associations as new forms of group association. These efforts 

may all be linked to particular worldviews, normative frameworks, concepts of belonging, or the 

moral order of social relations. Urban social environments appear to open up increasingly to a 

creative blend of various cultural expressions in film, music, literature and art and design as well 

as in new fashions and lifestyles. Some of these expressions form the background to new social 

movements with new discourses on social and political life in general.  

A special emphasis on young people and youth movements may be helpful to further 

explore this sociocultural change. From a generational perspective, youth has always been 

perceived as a non-conventional entity which must be tamed to make it conform to the order of 

society. In this sense, it is a phase of life open to uncertainty, exploration, experimentation and 

innovation and this renders youth one of the most promising topics to research in the quest for 

order framework.  

Creative originality is not just limited to creating and originating a system of ideas out of 

nothing but artful and careful combination, coupled with a well-established pattern of thought by 

a process of cross-fertilization is needed to save the system from the state of mythology. It is 

therefore imperative to develop a new reasoning ability to think aright, explore possibilities and 

to be able to discover and combine meaningfully, as many ideas and experiences as possible to 

http://www.thinkingmanagers.com/management/innovation-maintenance.php


Contemporary issues in the Visual Arts in Nigeria 

145 
 

create new forms of knowledge. Exploring the Mind can be achieved with daydreaming, 

meditation and also Thinking about thinking. What makes an individual tick? What are one's 

hopes, Dreams, and Fears? What does one do well? What could one do better? Start practising 

observing oneself – this might be a great start. 

Creativity is more closely related to thinking abilities and attitudinal development. It is a 

continual process for which the best preparation involves creativity itself. The act of creativity 

can be seen as that which provides the urge for continuing exploration and discovery. Every 

child is born creative. The urge to explore, investigate, and discover, what is on the other side of 

the screen is not limited to human behaviour, but is experienced by the whole animal kingdom, 

(Lower Field and Brittan 1975). One of the most commonly agreed upon components of creative 

thinking is the ability to produce a large number of ideas. In a general sense, the idea of 

creativity means different things to different people in the world. Murray (1966) states “… the 

creative process of the African artist is quite distinct from that of his Western counterparts”. 

There is the need to take due account of this distinction in any comparative analysis.  

Creativity exists everywhere in people’s life. It can be found in designing and packaging, 

processing and production, fabric and fashion, sign and architectural design, applied science and 

technology, visual arts, theatre, music, film (video production) and a host of other activities. 

Creativity in the modern dispensation is used as a powerful tool to attract attention to a nation or 

country's powerful endowment. Creativity can be meaningful to an individual if it is 

ideologically and culturally inclined. Runco (1994) opines that creativity is in terms of cognitive 

processes that lead to an original and adaptive insight, idea or solution. Thus, creativity is the 

most essential of all human resources and skills (Bolaji 2007). Akinboye (2004) sees creativity 

as a tool that propels organizations, catapults careers, and generate potent growth and viable 

outcomes.  

Creativity is at the heart of art and design, at all stages throughout the design process. The 

most exciting and challenging design is that which is truly innovative; the creation of a radical 

departure from anything currently on the market (Baxter, 1995). The more people try to define 

creativity by identifying with specific sets of values, meanings, beliefs, and symbols, the more 

our creativity will be focusing on how values, meanings, beliefs and symbols are formed, and the 

greater the chance that our creativity will become less restricted ( Bolaji 2007). 

One major way to spark creativity is through exploration. Exploring exposes one to new 

things. New things are inspiring. While exploring one might stumble across a new way of doing 

something, a new thing to do, or something more subtle. Sometimes one uncovers a bit of 

information that clicks with things he has been thinking about and completes (or helps to 

complete) the picture he has been developing in his mind. Other times one may discover a tool, a 

process or an approach that others are using which is unrelated but still inspiring in its ingenuity. 

Exploration can fuel one's creativity.   

Exploration is the act of travelling or searching within and around a terrain (including the 

immediate environment, the world and space or even an unknown region for the discovery of 

resources or information for a particular project. Exploration in art could take different forms, for 

example a visit to the city especially where one lives, or the nearest one and spend a day walking 

through the streets. Also, a visit to local, independent shops, clothing stores, antique shops, craft 

shops, toy stores, markets, museums, and art galleries/workshops are great places to seek out. 



 Fundamental Issues in Graphics Design Concepts: Creativity and Indigenous Innovation… 

 

146 

 

Others are new parks, beaches, monuments, and other gathering areas. As an artist or designer, it 

helps to have a goal, or set of goals, to provide some structure to your creative wanderings. 

Artists and designers are no longer constrained to the physical realm for their explorations, the 

Internet and the World Wide Web; there are vast tracks to be explored without ever leaving their 

homes. 

Graphic design plays an indispensable role in the industrialization of any nation. That is 

no matter the type of industries being established, be it advertising, printing or publishing 

companies, graphics design services would be needed if the products of the industries are to 

reach the general public and infect if they are to be marketable. The importance of teaching 

graphics cannot be overemphasized because of its educative and industrial power as well as its 

career prospects. The teaching of graphics would help the growing ones develop creative minds 

as well as discover themselves early. Besides, it would lay a good foundation for students who 

wish to do higher studies in graphics design. With the characteristic 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, graphics still have a big role to 

play. 

 

Exploration and experimentation with indigenous material 

The designer in the process of exploration and experimentation with indigenous and 

unconventional materials can produce aesthetical functional and functional art objects. The 

indigenous materials for creating good design and production include can include beads, POP, 

wood, sand, paper, and plastic among other elements.  

The environment is a good enabling place or field for any explorative engagement for the 

designer. One major way to spark creativity is through exploration, Exploration can fuel one's 

creativity and exposes the designer to new things, which can be inspiring. The designer while 

trying to explore things around him stumbled across a new way of doing something more subtle 

and innovative. Other times one may discover a tool, a process or an approach that others are 

using which is unrelated but still inspiring in its ingenuity. The designer can travel and search 

within and around his terrain (including the immediate environment, the world and space or even 

an unknown region for the discovery of resources or information for this particular project. Most 

of his design works reference the creative expression as found in nature. The designers are no 

longer constrained to the physical realm for their explorations, their immediate environment has 

influenced the creative exploration. 

 It makes the designer conscious of the environment to use whatever is at his disposal to 

produce artwork which can serve aesthetic purposes and at the same time solve industrial 

problems. That way the graphic designer becomes an agent of environmental conservation and 

makes a brilliant contribution to technological research aimed at giving the nation a place in the 

global scheme of things. 

The designer employs unconventional materials in the production of functional but 

aesthetic products in the form of graphics presentations in different media to enhance the 

aesthetics of the environment Examples of designs produced within the borders of this 

experimental area are two-dimensional designs such as cards, posters, and calendars made with a 

combination of fabrics, papers, wood and a myriad of other materials. Others are three–



Contemporary issues in the Visual Arts in Nigeria 

147 
 

dimensional works such as aesthetically rich and functional interior designs that include 

lampshades and clocks created in organic and geometric forms. Office and home collections are 

made also made created ranging from flower vases, pen holders, and racks, to mirror stands, TV 

trolleys and other pieces of furniture. In the area of product design, prototypes of a variety of 

industrial goods are made out of POP, paper, clay, and similar media. Other examples are 

functional devices like speakers and recorders that are used with other electronic gadgets or 

independently powered with electricity. 

 

Presentation and Analysis Creative Design Ideas and Concepts 

 

 
 

Plate 1: Lamp holder, wood and paper, 2 by 3, © Olugu Peter 

 

The artist in his exploration and experimentation with indigenous and unconventional 

materials produced an aesthetically functional lamp holder. The materials used in the design and 

production include, beads, POP, wood, sand, paper, and plastic among other elements. Other 

examples of designs produced within the borders of this experimental area are two-dimensional 

designs such as cards, posters, and calendars made with a combination of fabrics, papers, wood 

and a myriad of other materials.  

 

 

                             



 Fundamental Issues in Graphics Design Concepts: Creativity and Indigenous Innovation… 

 

148 

 

 
 

Plate 2:  Customized Card, paper, 2 by 3, Isougie Faith 

 

Plate 2 is a customized card in a three-dimensional format, with aesthetically rich and 

functional interior designs that can be used at home or in the office. In the area of product design, 

prototypes of a variety of industrial goods are made out of POP, paper, clay, and similar media. 

 

 

 

 

 

 

 

 

 

 

 

 

 

Plate 3: Decorative lamp stand, 2 by 3, Onuche Damian 

 

In Plate 3, the designer has through his explorative tendency designed/ created and 

produced an aesthetically rich and functional interior design lamp in organic and geometric 

forms. This could be used in the Office and at home. In this area of product design, prototypes of 

a variety of industrial goods are made out of POP, paper, clay, and similar media. Other 

examples are functional devices like speakers and recorders that are used with other electronic 

gadgets or independently powered with electricity. The dominant colours in the work are orange 

and black.  



Contemporary issues in the Visual Arts in Nigeria 

149 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Plate 4: flower vase, 2 by 3, Agbi Adrian 

 

Plate 4 titled flower vase is an aesthetically rich interior design work for the Office and 

Home collections, the artist's creative weight has been thrown into practice and pedagogical, 

enterprise exposition. His creative and innovative design has made him the focus of artistic 

discussion in many circles in and around Nigeria and abroad It is a colourful abstract pineapple 

design, with a combination of yellow, green and red, which have epitomize the visual aesthetics 

of the design. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Plate 5: Pawpaw design, 2 by 3, Marcus Idea 

 

This particular design is explorative and experimental of visual ideas employing 

unconventional materials in the production of functional but aesthetic functional products in the 

form of graphics presentations to enhance the beauty, and aesthetics of the environment. The 



 Fundamental Issues in Graphics Design Concepts: Creativity and Indigenous Innovation… 

 

150 

 

artist assembles unconventional materials in the form of various colours and appearance of actual 

and different sizes of composition in enhancing his work. These works are richly characterized 

by dots, circles and other design elements characterized by linearity, dot, and geometric shapes 

mostly in perspective in producing creative expression in product design format. The 

representation of colours in this design is another key element. Different colours were employed 

due to cognitive processing; culture and personal experience here added meaning to the new 

change of environment. It is important to know the meaning behind the design to bring 

information across to the  

viewer's appropriate. 

 

 

 

 

 

 

 

 

 

 

 

 

 

Plate 6: 2 by 3, Designer: Josh 

 

 

His recent works have accommodated a wide range of media. 

His creative exploits in his rendering. The artist assembles 

unconventional materials in the form of various colours and 

appearance of actual and different sizes of composition in 

enhancing the environment. He employs two and three-

dimensional geometrical visual images repenting chains of 

effects in exquisite dramatic organization visual organized. In 

other works in this experimentation and this area of product 

design, prototypes of a variety of industrial goods are made out 

of POP, paper, clay, and similar media. Other examples are 

functional devices like speakers and recorders that are used with 

other electronic gadgets or independently powered with 

electricity. The dominant colors in the work are orange and black.   

 

Plate 7: Flower Vase,  2 by 3 inches,  

Designer:  

 

 



Contemporary issues in the Visual Arts in Nigeria 

151 
 

 

Examples of designs produced within the borders of this experimental area are two-

dimensional designs such as cards, posters, and calendars made with a combination of fabrics, 

papers, wood and a myriad of other materials. Others are three–dimensional works such as 

aesthetically rich and functional interior designs that include lampshades and clocks created in 

organic and geometric forms. Office and home collections are made also made created ranging 

from flower vases, pen holders, and racks, to mirror stands, TV trolleys and other pieces of 

furniture. In the area of product design, prototypes of a variety of industrial goods are made out 

of POP, paper, clay, and similar media. Other examples are functional devices like speakers and 

recorders that are used with other electronic gadgets or independently powered with electricity. 

His expressive use of brilliant and pure hues in fearless, skillfulness and imperative 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Plate 8: Untitled, 2 by 3, Designer: Ezema Wisdom 

 

In Plate 8 one can see a significant manifestation of the designer’s creative enterprise in 

this work. It creates an avenue for collaborative research between graphic artists and engineers 

and other professionals in the applied sciences. Here the designer employs unconventional 

materials in the production of functional but aesthetic products in form of graphics presentations 

in different media to enhance the aesthetics of the environment. 

 It makes the designer conscious of the environment to use whatever is at his disposal to 

produce artwork which can serve aesthetic purposes and at the same time solve industrial 

problems. That way the graphic designer becomes an agent of environmental conservation and 

makes a brilliant contribution to technological research aimed at giving the nation a place in the 

global scheme of things. 



 Fundamental Issues in Graphics Design Concepts: Creativity and Indigenous Innovation… 

 

152 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Plate 9: Untitled, Flex Banner,  2 by 3 inches, Designer: Andiokoro 

 

One major way to spark creativity is through exploration. Exploring exposes one to new 

things. New things are inspiring. The designer while trying to explore things around him 

stumbled across a new way of doing something more subtle. One can see through this fruit-

shaped object on a base.  Other times one may discover a tool, a process or an approach that 

others are using which is unrelated but still inspiring in its ingenuity. Exploration can fuel one's 

creativity.  The designer in this particular has explored by travelling and searching within and 

around his terrain (including the immediate environment, the world and space or even unknown 

regions for the discovery of resources or information for this particular project. Most of his 

design works reference the creative expression as found in nature. The designers are no longer 

constrained to the physical realm for their explorations, their immediate environment has 

influenced the creative exploration 

 

Conclusion 

The works presented are the outcome of exploration and experimentation by the graphic 

designers. There are benefits associated with this dispensation that are rooted in exploration and 

innovation. Thus, there are far-reaching benefits for any developing nation that makes creativity 

the centre of its philosophical ideology. Methodologies that aid the exploration and discovery of 

potentials, and a problem-solving ability which allows the learner the opportunity for creativity 

should be the focus of any educational endeavour or curriculum transformation. The need for a 

paradigm shift from theoretical and paper certification to a practical application of knowledge 

necessary for future employment and skill development in the art and design for self-

employment is very necessary for African development.  

 



Contemporary issues in the Visual Arts in Nigeria 

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References 

Akinboye, J. O. (2004) Creativity, Innovation and Success. Stirling-Hordens Publishers Ltd, 

Ibadan-Nigeria. 

 

Anya, A.O. (1982) The Environment of Isolation. The Ahiajoku Lecture, Ministry of 

Information, Owerri, Nigeria 

 

Baxter, M.R. (1995) Product Design. Practical Methods for the Systematic Development of New 

Products, New York: Chapman and Hall  

 

Bolaji, S.D. (2007) Akinpelu’s Educational Philosophy and its Implication to Educational 

System in Nigeria, Unpublished Master’s Thesis Submitted to the Department of 

Educational Foundations, Faculty of Education, University of Lagos. 

 

Lowerfield and Brittian, L. (1995) Creative and Mental Growth. Macmillan Publishing Co. Inc., 

New York. 

 

Murray, J. (1966) Introduction to African Art. Camelot Press Ltd, London. 

 

Rodney, W. (1982) How Europe Underdeveloped Africa, Ikenga  Publishers Enugu, Nigeria. 

 

Runco, A. M. (1994) Encyclopedia of Human Behavior. Academic Press Inc. New York. 

 

 

 

 


