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A Qualitative Comparative Study on Creative Workflows among Filipino Graphic Designers
Subject area: Arts, Social Sciences and Humanities · Area of research: Graphic Design, Graphic Design workflow
DOI: https://doi.org/10.64388/IREV10I2-1722652
Abstract
This qualitative comparative study examines how learning pathways shape the creative operational workflows of graphic designers in the Philippines. Utilizing a comparative case study design, semi-structured in-depth interviews were conducted with 12 active design practitioners, partitioned equally into formally-educated (n = 6) and self-taught (n = 6) groups, and analyzed using Braun and Clarke’s reflexive thematic analysis framework. Interpreted through Constructivist Learning Theory, the findings reveal a fundamental operational divide across the commercial design lifecycle: formally educated practitioners employ a research-first, linear workflow scaffolded by sketching and design principles (Social Constructivism); while self-taught practitioners utilize an agile, canvas-first workflow brought upon by immediate digital canvas interaction, exploratory software experimentation, and trend-driven iteration (Cognitive Constructivism). While formal training provides robust theoretical grounding and presentation of design rationale, it faces institutional curriculum lag. Conversely, self-directed learning yields high software agility but leaves practitioners vulnerable to theoretical blind spots. These findings provide empirical foundations for higher education studio curriculum modernization and strategic upskilling within the Philippine creative industry.
Keywords
Graphic Design, Creative Workflows, Design Education, Formal Education, Self-taught Designers, Philippine Creative Industry
References
[1] Commission on Higher Education. (2017). Policies, standards and guidelines for the Bachelor of Multimedia Arts (BMMA) program (CMO No. 20, Series of 2017). CHED.
[2] Commission on Higher Education. (2020). Higher education statistical bulletin. CHED Office of Planning, Research, and Knowledge Management.
[3] Creswell, J. W., & Poth, C. N. (2018). Qualitative inquiry and research design: Choosing among five approaches (4th ed.). SAGE Publications.
[4] Cross, N. (2006). Designerly ways of knowing. Springer. https://doi.org/10.1007/1-84628-301-9
[5] Department of Labor and Employment. (2022). Labor market information: Creative and visual arts industry profile. DOLE Bureau of Local Employment.
[6] Design Center of the Philippines. (2020). Design counts: Mapping the Philippine design ecosystem. British Council & Design Center of the Philippines.
[7] Fleischmann, K. (2015). The democratisation of design and design learning: How do we educate the next-generation designer? International Journal of Arts & Sciences, 8(6), 101–108.
[8] Frascara, J. (2004). Communication design: Principles, methods, and practice. Allworth Press.
[9] Piaget, J. (1952). The origins of intelligence in children. International Universities Press. https://doi.org/10.1037/11494-000
[10] Vygotsky, L. S. (1978). Mind in society: The development of higher psychological processes. Harvard University Press.
[11] Yin, R. K. (2018). Case study research and applications: Design and methods. (6th ed.). SAGE Publications.
How to cite this paper
@article{1722652,
author = {Stacy Valerie P. Alcausin, Lea Ysabel Q. Evangelista},
title = {A Qualitative Comparative Study on Creative Workflows among Filipino Graphic Designers},
journal = {Iconic Research And Engineering Journals},
year = {2026},
volume = {10},
number = {2},
pages = {3393-3400},
issn = {2456-8880},
url = {https://www.irejournals.com/formatedpaper/1722652.pdf},
abstract = {This qualitative comparative study examines how learning pathways shape the creative operational workflows of graphic designers in the Philippines. Utilizing a comparative case study design, semi-structured in-depth interviews were conducted with 12 active design practitioners, partitioned equally into formally-educated (n = 6) and self-taught (n = 6) groups, and analyzed using Braun and Clarke’s reflexive thematic analysis framework. Interpreted through Constructivist Learning Theory, the findings reveal a fundamental operational divide across the commercial design lifecycle: formally educated practitioners employ a research-first, linear workflow scaffolded by sketching and design principles (Social Constructivism); while self-taught practitioners utilize an agile, canvas-first workflow brought upon by immediate digital canvas interaction, exploratory software experimentation, and trend-driven iteration (Cognitive Constructivism). While formal training provides robust theoretical grounding and presentation of design rationale, it faces institutional curriculum lag. Conversely, self-directed learning yields high software agility but leaves practitioners vulnerable to theoretical blind spots. These findings provide empirical foundations for higher education studio curriculum modernization and strategic upskilling within the Philippine creative industry.},
keywords = {Graphic Design, Creative Workflows, Design Education, Formal Education, Self-taught Designers, Philippine Creative Industry},
month = {August},
doi = {https://doi.org/10.64388/IREV10I2-1722652}
}