Happy New Year! I hope you had a wonderful break, and starting 2026 with fresh, fiery energy, drive, and confidence. 🐎✨
I’m excited to share a new talk on creativity with Tina Touli. Tina is a London-based designer working across disciplines. Known for blending the analogue with the digital, she mixes materials and technologies in inventive ways. Her curiosity has led her to create phygital experiences, experimenting with materials, techniques, sound, and surroundings.
Tina’s way of experimenting with phygital experiences and letting curiosity guide the process feels very familiar to us. At Bloomerangas, part of what we do is create phygital, gamified experiences — or Bloomerangas Playgrounds, as we call them.
In this talk, we dive deeper into the exploration of creative expression through phygital experiences, experimentation, and finding your creative voice.
For Tina, working across disciplines isn’t a strategic decision — it’s a necessity. “If you ask me to do the same thing again and again, I get bored,” she admits, explaining why she constantly moves between print, branding, web, motion, 3D, and installation work. Repetition, for her, doesn’t create mastery — it drains energy.
Moving between mediums keeps her engaged and curious. Each discipline feeds the next: branding informs motion, motion feeds back into typography, and digital work often sparks physical experimentation — and vice versa. Rather than seeing these fields as separate, Tina treats them as part of one continuous practice.
This way of working also reflects how she understands creativity itself. It’s not about doing everything at once, or trying to master every tool, but about allowing curiosity to lead. Switching mediums becomes a way to reset, to see ideas from a new angle, and to keep the work — and herself — creatively alive.
One of Tina’s most immersive projects, grew out of a desire to create an experience people could physically and emotionally enter. “I wanted to create something that allows you to get lost within it,” she explains — a space where you can pause, disconnect from external noise, and turn inward. Rather than beginning with screens or software, the project started with analog experiments: liquid compositions filmed up close, producing slow, hypnotic visuals that invited viewers to linger and let their attention soften.
For Tina, this blend of physical process and digital outcome is at the heart of phygital work. The tactile experiments weren’t sketches to be replaced later — they became the foundation of the final experience, carrying a sense of materiality and imperfection into the digital realm.
Sound played an equally important role. For an immersive installation, it isn’t an add‑on but a core ingredient. For Voices in My Head, Tina collaborated with singer Lydia Scarlet, whose voice translated emotion into sound — moving between calm and intensity, softness and tension. Together, the visuals and sound formed a 20‑minute audiovisual piece designed not to guide or instruct, but to hold space for individual interpretation.
Continue reading on our website, where you’ll find more of Tina’s work — and watch the full talk on our YouTube channel.
