The system of learning new creative skills is broken – so how can it evolve?

In the case of Studio Moniker, a unique studio working at the intersection of art and design, continuous learning is an essential part of its DNA. As co-founder Luna Maurer tells us, “new endeavours lie at the core of our work,” and so learning new skills is encouraged in two ways. The first is direct, involving “specific learning of creative technical skills that goes along with technical research”. While the second is more personal, involving “making time and space for general creative development,” says Luna. As a result, professional development is something taken seriously and managers encourage team members to inject their interests into work. Although, “this requires discipline, and it’s not always easy and effective,” in the case of Moniker, “it is the soil for our work.”

This directly applies to projects, which differ in concept and skill set “quite considerably”. For instance, three developers at the studio work in close contact, learning frameworks and teaching themselves. These learned abilities then take part in an “exchange of knowledge”, and allow the rest of the team to get involved. For the co-founders half a day is saved, specifically “for development and exchange outside of the projects of the team”. This allows the group to get on the same page and continue writing it together, as these sessions “help frame the thoughts that lie beneath the projects at Moniker.”

Although learning is front of mind, Luna and her team are not blind to a lack of time admitting: “We all know the problem of too little time for discovery.” Yet, by placing importance and dedicating regular time such as a slot each week, or a longer stint between projects, it can be found. It’s also been Moniker’s decision to take this approach, understanding that it can place limitations on possible other areas. The problem with changing project outcomes consistently “is also that the clients come to you for what they already know about you,” adds Luna. “New creative endeavours are not necessarily appreciated.”

Aside from this natural growth, Koto offers opportunities for further learning from outside sources. The chance to develop in more specific areas is offered via a different company, through “workshops, group settings and attending talks and lectures,” explains James. “For technical skills we use online, self-learning resources, as there are so many good ones out there.” Setting aside outside classes as a team leader also holds individuals accountable for their own learning. “They offer us new training most weeks and the team opt in to take anything which interests them,” he continues. “Once you have committed, then the time seems to appear.”

When it comes to James’ leadership on learning, although he offers time for learning new skills, it comes from an understanding that there is never enough. “Time is always the most precious thing and as creatives we always want more of it,” he concludes. “Our work can be so time intensive compared to some works styles, so the only way to make space for new skills is concisely doing it.” And why does there never seem enough? Simply because of the level of work required. “It’s a competitive industry,” adds James, “and people are scared of not putting 110 per cent into everything.”

Working at a company on a much larger level, but still retaining the skill sharing and learning emphasis of these smaller studios, is Alice Moloney, a senior creative strategist at Google Research.

Within this role, Alice specifically looks “at how to make strategy felt through narrative, data and code,” in the context of AI development and emotional intelligence. A research-focused team of around 12, but part of a much larger group of 600, skills are first shared naturally. This is due to each team member having varying skill sets; made up of people from creative backgrounds, psychology careers, privacy experts, UX engineers and interaction designers. “It’s a unique team,” explains Alice, “everyone has their subject of specialism or a subject matter of expertise, coupled with core skills which shape the projects we work on.”

At DixonBaxi however, a London-based agency founded by Simon Dixon and Aporva Baxi, whose projects span from Pluto TV to rebranding AC Milan, scheduling time allows and encourages variety. Outside of the immediate organisational use it is a vital way for managers to ensure a varied approach to designing, building in time “for each person to do research and development, training, cultural trips etc. and so we factor that into how time is allocated," explains its co-founder and creative director, Aporva Baxi.

Variety, in general, appears to be the agency’s approach to training and development too, applying learning resources in numerous ways. Firstly, its team members are varied in their backgrounds and interests, allowing for a diverse range of skills to grow. This is followed by an emphasis on experimentation. “A crucial part of our process,” describes Aporva, this experimental quality is nurtured during work and by levelling up skills across the board; “not just software, but ideation, communication writing and so on,” he continues.

Direct training also happens in two approaches. For example senior and junior members are buddied up as an “organic way to share their knowledge”, followed by more direct sharing “through ‘master-class’ live sessions, or screen-recorded tutorials, as well as curated reading and listening lists,” explains the creative director. This too is driven by the team’s own enthusiasm, with Aporva describing himself “fortunate to have an incredibly driven team who also do a lot of self-initiated research and training.” When these areas do not appear to be offering enough, or a particular learning is demanded, third party training is also introduced.

Though these leaders' approaches to learning and creative growth all differ hugely, the hunt for time still appears to be a difficult battle for creative teams. That being said, it seems that trusting in-house team members, and their own want to nurture themselves as much as the team and business they work for, is the way forward.

At Moniker, this personal development involvement not only propels the studio forward but its team individually too. Koto’s approach of cultivating a group of individuals who can learn from one another acts in a similar way when driving projects into a new space. At Google, Alice's team's differing skills don't cause difficulties but an appreciation for one another to pick up new ways of thinking. And at DixonBaxi, as Aporva clearly states: “We wouldn’t be able to produce the work we do without the team’s wide range of experience and continued growth.”