The method in carpet designing is the process of revealing the idea by the designer, which begins with choosing the idea and the theme, and ends with the final construction. These stages are divided into two general parts of dividing the space carried out from the first to the fourth stage and, creating the space done from the fifth stage onwards. The personal method is to identify the nine-fold-stage characteristics of the work of an artist distinguishing his artwork from others i. e. choosing the idea, the format of design, determining the frame, the method of repetition, division of design, setting the form of dominant elements, number and type of rotations, the location of main and secondary motifs, and the identifiable construction. This research is to study the personal method of “ Ali Akbar Fadaei” (1884-1959 A. D) starting his work during the Baharestan Era and thus, and maturity of his artistic activity has continued after the Qajar dynasty to the early Pahlavi’ s, during the Persian Carpet Company period. According to his eldest daughter, his mature career coincided with the prosperous period of carpet in this region. The highpoint of his career coincided with the presence of foreign companies e. g. Oriental Carpet Manufacturers (O. C. M( and Atiye bros in Iran. This article has been accomplished based on reviewing 24 Afshan medallion designs out of 64 carpet maps preserved in his family collection, stored in envelopes with his name written on the back as "Kal-Akbar Fadaei" in English. The maps are divided into 4 general categories of Afshan, Medallion, Mihrabi, and Vagire, in terms of design. Afshan designs of this collection are subcategorized as simple, medallion, corner, and tree. The researches accomplished on the Kerman carpet generally refer to the design and color in this region and to some extent the introduction of its prominent manufacturers; but weavers, painters, or designers have been neglected, except in a few cases. This disregard for designers was not only limited to their lives and artworks but also included their methods, so virtually no research on how to organize the design and no explanation on the individual methods are available; thus, no independent research has been done on identifying and introducing Fadaei's works. This paper is based on investigating the method of this second-generation designer of the Kerman carpets, and seeks to answer this question: What are the characteristics of Ali Akbar Fadaei's method, based on the data obtained from the analysis of his 24 Afshan Medallion designs? This study reveals the need to investigate this issue since the characteristics, names, and addresses of Kerman carpet designers including Ali Akbar Fadaei are rarely seen in the remaining documents of the Iranian carpet industry in the Qajar and Pahlavi periods. Therefore, focusing on each of these designers can help to differentiate the history of carpet designers in this region. The research method here is descriptive-analytical, and in terms of purpose, it is developmental. Gathering basic information about Afshan carpets and the position of this artist among the designers has been obtained through a library study. On the other hand, the nine-fold stages of design in each Afshan Medallion design were investigated by referring to the personal archives, and finally, a list of common features has been prepared. The statistical population of this research includes 24 Afshan Medallion designs. Research findings show that the skill in drawing patterns is evident in the studied works, concerning the existence of perfect proportions in them, freedom of action in designing the sketch, and the observance of precise and strict order in designing details and motifs. Frequent use of some designs such as cypress, paisley (with the extension and decorations that are specific to this designer), grape leaves, and fruits have become his signature or identification code in the mentioned samples. Fadaei has attempted to disturb the symmetry in parts of the design on the axes of symmetry. The other features recognizable in the studied works include using suspended and scattered frames in the background and between other patterns to create visual appeal and prevent uniformity. Simultaneous use of large flowers and small clusters and flowers in the background, as one of the methods of composition, sensory interaction with the design in determining the size of the main elements like a medallion, frame, corner, and vase are obvious in this group of works. He has used various bands and rotations (spiral rotations, dancing branches, and sometimes a combination of them) in designing the background, and sometimes has applied hanging bouquets to fill the background. The main other features identified include his skill and ability in designing simple and complex borders. Besides, his interest in designing the border with overlapping and breaking the borderlines with various and beautiful frames is evident, so that the border is considered as one of the attractive and dynamic parts.