Wenbin Sun

For Wenbin Sun, design has become a way to navigate differences between languages and cultures. Starting out, his journey took him from Shanghai to London, where he studied Graphic Branding and Identity at LCC while gaining experience through internships and placements along the way. Now a junior designer at branding agency WMH&I, he also experiments with tools like 3D and creative coding. Here, Wenbin shares how he landed roles through cold DMs, built confidence across cultures and why mindset matters just as much as craft.

What I do

How would you describe what you do?
I’m a multidisciplinary designer focused on branding and visual storytelling. At the core, I help ideas take shape – whether through identities, campaigns, motion or packaging. But beyond that, I’m always experimenting. I love exploring how different tools and mediums – from 3D to creative coding – can expand what graphic design can be. To me, design isn’t just about creating something polished, but discovering new ways to communicate, feel and connect. That spirit of curiosity and play is a big part of how I work.

What are the main influences and inspirations behind your work?
I’m from China, a country made up of many ethnic groups with distinct customs, dialects and identities. Growing up, I was always aware of how culture shapes the way people connect – even within one nationality, those regional differences were deeply felt. That early experience sparked my fascination with community and belonging.

After moving to London, I encountered a different kind of diversity – not across ethnicities within one country, but among people from entirely different national backgrounds. I was inspired by how naturally these global communities coexist here, forming new, fluid identities. That shift in perspective changed the way I approach design. I’m drawn to work that explores the complexity of cultural overlap and shared values, and I try to create visuals that reflect the richness of those human connections.

Would you say you need any specific training for what you do?
With so many learning resources available online, technical skills are easier to pick up than ever. But I believe what truly sets a designer apart is not how well they use tools, but how they think. Graphic design is a highly competitive field, and mindset matters even more than craft.

What’s been your favourite project to work on from the past year, and why?
My favourite project from the past year was BAJAU — a branding concept designed to raise awareness of the Bajau people, a sea nomadic ethnic group facing cultural disappearance due to rising sea levels, forced relocation and political neglect. As someone passionate about the connection between culture, nature and society, I couldn’t be happier to work on something truly meaningful while studying at LCC.

Visually, I used fluid, water-like gradients and soft typographic movement to reflect their deep relationship with the ocean. The system connects exhibitions, donation platforms and even skincare products inspired by traditional Bajau practices. It was exciting to design a brand that could carry both sensitivity and strength, a reminder that design can play a part in cultural preservation and social awareness.

What does a normal day-to-day usually look like for you?
My day-to-day really depends on the project and that’s the exciting part. At WMH&I, I get to work across a wide range of clients, from electric vehicles and data centres to pet care, whisky, frozen fries, charities and even dominatrix brands. There’s a well-balanced mix of brand and campaign-led work, which often starts with understanding brand positioning and audience insight, then translating that into bold, strategic creative. Depending on the brief, I might be storyboarding a product film, designing key visuals, writing copy, testing motion treatments or shaping identity systems that flex across packaging, digital and OOH.

Collaboration is a big part of how we work — not just inside the studio with strategy, motion and account teams, but also with amazing freelancers, production agencies, typographers and copywriters. Working with so many different people always keeps me fresh and learning all the time.

Posters for BAJAU

How I got here

What was your journey like when you were first starting out?
My journey in graphic design started eight years ago when I began my first design degree in Shanghai. I was lucky, I chose something I’d end up truly loving without even realising it. After three years, I felt the urge to explore design beyond China, which led me to study in London.

At LCC, I discovered how broad graphic design really is. Choosing the Graphic Branding and Identity pathway helped me find clarity — I became fascinated by how creative thinking could be turned into structured, strategic systems. Along the way, I made a point of working with industry while studying. Internships, freelance projects and agency placements gave me a clearer sense of what kind of designer I wanted to become. That mix of theory and practice shaped both my skills and long-term direction.

How did you go about landing your first few jobs, clients and/or commissions?
I landed my first few internships during my placement year, and I truly believe that being proactive is essential. Don’t hesitate to message studios you admire – my first opportunity came from a cold DM on LinkedIn! Not every message leads to a job, but the positive replies and encouragement I received helped me stay motivated.

I also made a habit of asking tutors and industry professionals for advice –most people are happy to share their experience if you ask. From what I’ve seen, many studios are more open to placement students than recent graduates, so making the most of that window really helps. While structured programmes provide support, it’s your initiative that makes the difference. Showing your work, asking questions and putting yourself out there are key steps to finding your way.

What has been your biggest challenge along the way?
As a Chinese designer, my biggest challenge early on was navigating cultural differences and language barriers – especially at entry level. In interviews and internships, it’s not just about your skills, but how you connect as a person. At first, I was anxious: nervous about misunderstanding tasks or missing casual jokes in the studio. But over time, I came to embrace those moments. They pushed me to grow – not just as a designer, but as a more open, resilient person.

Another challenge was the information gap. It took time to understand how the UK design industry works and how others in my position found jobs. I learned to actively seek out resources: speed mentoring, portfolio reviews, and design talks all helped me find my footing. London can be overwhelming at first, but it’s full of opportunities if you know where to look.

How important are social media and self-promotion to your work?
Self-promotion on social media is more important than ever – I know it can feel awkward at times (especially posting on LinkedIn with a bit of creative “life wisdom”!), but it really is an opportunity for young designers. We’re often more open to new ideas, tools and ways of thinking, something that even experienced professionals can lose touch with.

I believe we need a positive circle: emerging creatives bring fresh thinking, while senior designers offer structure and perspective. I’ve spoken with many students and graduates who tend to undervalue themselves, worrying they’re not “qualified” to share their work or opinions. But this is a kind and open industry – people appreciate brave, thoughtful voices more than quiet perfection. Don’t hold back just because you’re unsure. Your perspective is worth sharing.

What are three things that you’ve found useful to your work or career, and why?

What have been your greatest learnings with making money and supporting yourself as a creative?
One of my biggest learnings has been to always value yourself – your time, energy and ideas matter. I’ve interned at four different agencies, and I strongly believe all interns deserve fair pay. Unpaid internships not only devalue creative work, but also exclude people from less privileged backgrounds.

That said, I also think it’s important to stay open when you’re just starting out. Be curious about different types of studios and projects – every experience teaches you something, whether it's about teamwork, process or your own preferences. Supporting yourself as a creative isn’t just about earning – it’s about recognising your worth while building confidence through real, varied experiences. Say yes, learn fast, but also know when to say no.

My advice

What’s the best career-related advice you’ve ever received?
The best advice I’ve received is to stay curious and engaged with everything happening around you — in the studio and across the wider creative industry. That means entering awards like D&AD, Deline and World Brand Design Society, attending portfolio reviews and talks, and browsing platforms like It’s Nice That, Creative Boom and The Brand Identity. Exposure builds understanding. I also learned to focus less on how work looks, and more on what it communicates.

During my internships, I realised that while confidence is important, you shouldn’t put too much pressure on yourself — you’re there to learn more than to prove. The creative industry is shaped by strategy, culture, tech, storytelling and more. Exploring those areas helps you build a richer, more adaptable creative mindset – one that’s not just visually strong, but conceptually grounded.

What advice would you give to someone looking to get into a similar role?My advice would be to make yourself visible. Build your profile – whether it’s on LinkedIn, Instagram, or any platform where your work and voice can be seen. This is a competitive industry, and standing out often starts with simply being discoverable.

For me, winning a D&AD New Blood award made a real difference. It brought attention to my work during grad show season and gave me something solid to talk about in interviews. It helped people remember my project – which made starting conversations so much easier. Awards aren’t everything, but they can create momentum.

Be bold enough to share your work, your thoughts, your curiosity. Creativity isn’t just about making things — it’s about communicating ideas and getting others on board. And always stay curious. People notice when you’re genuinely engaged – with tools, trends, or ideas. That’s what makes you stand out.