Techniques From Other Designers

by Patsy Carvalho

Finished creative work gives off a deceptive feeling, one that doesn’t quite reflect the process. A polished illustration, identity, or editorial spread makes the process seem almost inevitable, as though the designer knew exactly where they were going from the beginning. What is rarely seen are the crossed-out sketches, abandoned layouts, and piles of references. Yet, those things that are never seen are where the most is learned.

As I studied other designers, I became more interested in their habits rather than just their aesthetics. The question for me had changed from how can I imitate this? to What did they do to arrive here? This distinction is important. Influence is not tied to imitation. Sometimes we borrow more than a color palette, but the process.

Christoph Niemann’s process is a good example, as his work shows how the designer is influenced by the tools and materials they choose. His approach is that the concept of making will shape the thinking. Creating and judging require separation because an idea needs room to exist before it can be evaluated. This concept makes sketching valuable because it is not meant to be finished work. 

Gixem Vural’s process is different. She moves between analog and digital methods, often starting in a sketchbook before developing digitally. Physically drawing demonstrates the irregularity of the hand, whereas digital tools allow for layering, refining, and experimentation. Transitioning between physical and digital beco

mes part of the process.

Kyle Bean demonstrates material experimentation visibly. His process includes researching, making physical things, and discovering through construction. This is a reminder that research does not always require reading endless articles. Sometimes it requires touching, arranging, photographing, and being hands-on.

The connection between these practices is not one single method. Creative processes are personal, messy, and often adaptable. One designer may sketch while another collects or builds. Some move between the physical and digital. The goal is not to take all of these habits and combine them into one routine.

The process of these designers is an archive of possibilities. This means that I can borrow habits, research just enough to change my original thought, learn to keep all variation instead of seeing the discarded as failures, and most importantly I can pay attention to the techniques that change my perception.

This is the difference between borrowing someone’s style and learning from their process. And you’ll be surprised when you find the more interesting work taking shape.