Creativity Is Limited to the Arts True or False

From the Existing Creative and Creative Processes to the Creative Creative Process

The creative process is defined equally a succession of thoughts and actions leading to original and appropriate productions (Lubart, 2001; Lubart et al., 2015). The artistic process may exist described at two levels: a macro level, featuring the stages of the creative procedure, and a micro level, which explains the mechanisms underlying the creative process, e.thousand., divergent thinking or convergent thinking (Botella et al., 2016). Although the works carried out on micro-processes tend to concord on a fix of mechanisms that can be involved in the creative process, work focusing on macroprocesses take not accomplished consensus regarding the nature or the number of stages involved in the creative process. Table one shows some of the unlike models that tin be found in the scientific literature, with overlaps or divisions between some stages of the models. In this paper, nosotros care for micro-processes equally contents of a more global, macro-level process, which make information technology possible to describe the construction of a piece of work of art from the beginning (i.e., the wish to create) to the cease (exhibiting that work). Moreover, the procedure tin can be examined in a psychological and individual or in a socio-cultural perspective (Glǎveanu, 2010; Burnard, 2012). In the present study situated in the visual art field, we volition consider the creative creative process as an individual phenomenon.

Table ane. Synthesis of some examples of models of creative process.

Art is frequently considered to be an archetypal domain of creativity inquiry (Schlewitt-Haynes et al., 2002; Stanko-Kaczmarek, 2012), complimented by enquiry on scientific, musical, design-oriented, and literary creativity (Glaveanu et al., 2013). Fifty-fifty if some overlap can be observed between different artistic fields, each field has its own specificities (Botella and Lubart, 2015). The purpose of this section is to merge some existing models of the creative process and artistic procedure to examine what the artistic artistic process could be. Obviously, this department cannot be exhaustive but offers a beginning consideration of the numerous important stages of the artistic creative process.

The process starts by an orientation, in which the private identifies the problem that must exist solved (Osborn, 1953/1963), chosen also a phase of problem choice (Busse and Mansfield, 1980) or a sensitivity to problems (Guilford, 1956). Trouble definition involves producing as many questions as possible. For Runco and Dow (1999), trouble-finding refers to a procedure of "sensing gaps" (Torrance, 1962)—that is, detecting elements that are lacking. In the same vein, Bruford (2015) proposed a stage of differentiation consisting of retaining information that leads to producing something different, involving interpretative and expressive musical differences. Additionally, Mumford et al. (1994) suggested making a stardom between discovering a trouble (i.e., rejecting problems that are untrue, incorrect, or incomplete; Getzels and Csikszentmihalyi, 1976; Arlin, 1986), posing the trouble (i.due east., finding a correct conception), and constructing a problem (i.e., describing the problem). In the creative field, Fürst et al. (2012) proposed a model of art product that includes a goal of creation.

And then, there is preparation, the offset phase described in the early on macroprocess model by Wallas (1926). Carson (1999) explained that, in this stage, the individual defines the problem (or understands it; Treffinger, 1995) and gathers data in order to solve it. Based on a series of interviews with novelists, Doyle (1998) argued that the artistic process begins with an incident, when an private discovers an idea. In the creative process literature, Mace and Ward (2002) proposed a four-stage model based on interviews with professional artists. For them, the artistic process begins with the design of an artistic work. Hence, work is initiated by a more-or-less vague idea or impression. Recently, based as well on a serial of interviews with professional person artists, Botella et al. (2013) identified vi stages in the creative procedure in art, starting by an idea or a "vision" in which an epitome, a sight, a sound resonates with the creative person.

Earlier the second main stage described past Wallas (1926), some authors added complementary stages afterwards preparation. Based on a previous review of the literature, Botella et al. (2011) advise a stage of concentration ("I am concentrating on the work I take to exercise") in which information technology is possible to focus the creator's attending on those solutions deemed to be adequate, and to reject the other solutions (Carson, 1999). Osborn (1953/1963) added analysis, when the creator takes a step back to place the relations between ideas and the importance of each idea; and ideation, when the individual develops alternative ideas. Busse and Mansfield (1980) indicated besides a stage requiring making an effort in club to solve the problem.

So, according to Wallas (1926) and many other authors, incubation occurs (Osborn, 1953/1963; Shaw, 1989, 1994; Runco, 1997; Runco and Dow, 1999; Botella et al., 2011). This is a time of solitude and relaxation, where idea associations take place at a subconscious level (Carson, 1999). Recently, Sadler-Smith (2016) reintegrated a fifth stage in the Wallas' model: intimation occurs between incubation and insight. Intimation is described as an "association-train" in a fringe witting level, between conscious and unconscious levels (p. 346). Cropley and Cropley (2012) revisited as well Wallas's piece of work and split the phase of incubation into activation and generation. The process once more becomes conscious in the stage of ideation, with the generation of further ideas, which are not necessarily judged or assessed. The private then experiences an illumination or insight (Eureka!) with the emergence of an idea, an epitome or a solution (Wallas, 1926; Carson, 1999). Boden (2004) noted that illumination or insight needs previous thought-processes.

Idea generation can take place in various ways according to the different models. Busse and Mansfield (1980) described a stage in which the creator sets the constraints related to the solution of the problem and, and so, some other stage involving the transformation of these constraints or adaptation of the constraints that are not suitable. For Doyle (1998), there is some form of navigation betwixt diverse knowledge domains, which makes it possible to assess the relevance of this thought. Based on Dewey (1934), Bruford (2015) proposed a pick phase in which the creator choses one option among several, requiring agency and command abilities. In the field of art, Mace and Ward (2002) named this pace idea development in which the artist structures, completes, and restructures the idea. Botella et al. (2013), through interviews with professional artists identified a phase of documentation and reflection during which artists gather more than information about the materials and technologies required in order to turn their vision into reality. The final stage described by Wallas (1926) is verification (Busse and Mansfield, 1980). New ideas are tested and verified, leading to the elaboration of a solution and to its production (Carson, 1999). More precisely, Osborn (1953/1963) proposed two distinct phases of synthesis, which consists of gathering ideas together and distinguishing relations between them.

Gruber (1989) argued that the 4-stage model is incomplete. For Russ (1993), at that place lacks a stage of application, or deployment of the creative production. Treffinger (1995) added finer a stage of thought production, leading to action by planning. This work corresponds to the development and implementation of ideas through a search for solutions (evaluation, selection, and redefinition), and then the acceptance of this solution (promoting an idea, looking for its strengths and drawbacks). This final stage makes information technology possible to materialize the ideas that have been found and to solve the problem. In this vein, in the field of art, Mace and Ward (2002) described the realization of an idea, during which the artist transforms that thought into a physical entity. Botella et al. (2011) also added stages of planning ("I am planning my work"), and production ("I am producing/composing my ideas"). Results of observations in the art field suggested that the production stage is comprised, in fact, of two stages: a phase that consists of searching for ideas through the creative gesture (sketches, drafts, mock-ups), and and then a stage consisting of the realization of an idea that is already constructed (transposing an idea to a concrete medium). The initial stage of "production" describes a like activity, but the underlying cognitive micro-processes are dissimilar. In the first case, the goal is to produce in society to formulate an thought whereas in the second case, information technology is to produce in order to implement an thought that already exists. In a study consisting of interviews of professional artists, Botella et al. (2013) confirmed the stages of first sketches to give a cloth form to the initial project, testing the forms and ideas that originated from reflection and preliminary piece of work, and provisional objects, "drafts" and almost-finished products. Revisiting Wallas' model, Cropley and Cropley (2012) mentioned a stage of communication, as Bruford (2015) with musicians.

For Osborn (1953/1963), the last stage is evaluation (Runco and Dow, 1999; or cess for Bruford, 2015), in which the private assesses the chosen idea. For Mace and Ward (2002), the final step of the creative process, chosen finalization, brings the artistic work to conclusion (or validation according to Botella et al., 2011; Cropley and Cropley, 2012). The artist reassesses the production and may choose to finish, to elaborate, carelessness, filibuster, store, or destroy it. If the artist believes the mission that was set has been accomplished, the artist may choose to exhibit the production. Recently, professional person artists suggested to add one more than stage with series, transforming a first object to many objects (Botella et al., 2013).

All these models were adult based on rational or empirical approaches. Original works and models from Poincaré and Wallas' were conceived based, respectively, on their own experience and pragmatic empirical observations. Patrick (1935, 1937) supported Wallas proposal by collecting empirical data in terms of observations and verbal reports of poets and artists who were invited to do a specific artistic task. About of the "stage models" are then based on this kind of rational or empirical analyses, with verbalizations, specifications, and clarifications of the processes past the participants themselves in the majority of cases. Therefore, these models mayhap be considered as a specific approach to creativity, singled-out from the psychometric, problem finding or cerebral experimental approaches (Kozbelt et al., 2010). Contempo studies on the four-stages model of Wallas confirmed over again that researchers practise non agree on the number of stages: Cropley and Cropley (2012) plant seven stages whereas Sadler-Smith (2016) institute five stages based on Wallas' book.

Objectives

Models of the creative process and of the artistic process do not agree on the nature or on the number of steps involved in a creative creative process (encounter Howard et al., 2008). This lack of a consensus could be explained by the fact that (a) the creative process is a complex phenomenon as described by Osborn (1953/1963) who believed that creation is set off by "cease-and-go" or "grab what you lot can"-type processes; (b) models of a artistic process are constructed based on a specific creative population and a specific creative domain, though these are described equally if they were generic and could utilize to all domains whether art, science, music, writing, or blueprint. The procedure is nearly ofttimes described in full general terms, as if information technology should utilize to all creative domains, whether it is art, science, music, writing, or design; (c) descriptions of the artistic process do not always accept into account the definition of creativity, in detail the contextually rich, situated nature that originality, and appropriateness may have; and (d) the methodologies used were unlike [exist it a review of the literature (Busse and Mansfield, 1980; Botella et al., 2011), a series of interviews with novelists (Doyle, 1998), with professional artists (Mace and Ward, 2002; Botella et al., 2013), or an applied and consulting-based approach (Carson, 1999)].

The aim of the present written report is to question direct some stakeholders of artistic inventiveness, namely visual art students. However, it is perchance too ambitious to ask them to depict completely their creative process. Nosotros advise that the lack of consensus in the previous studies could exist due to the desire to capture all aspects of the creative process in the aforementioned report. So, the students interviewed here draw just what constitutes, for them, the stages of their process of creative creativity. We enquire them specifically to list the stages of their process in order to exist as exhaustive every bit possible. This qualitative written report makes information technology possible to place what stages the students consider relevant in their mental representation of the visual artistic creative process, rather than relying on stages extracted from the scientific literature on creativity. With this report, nosotros will not able to have a macro vision of the entire artistic artistic process but we will construct an inventory of the stages involved to motion picture this process.

Given the descriptive nature of the present research on the artistic creative process, the findings can be integrated in farther work equally a part of the Creative process Report Diary (CRD, Botella et al., 2017). The CRD is a useful and relevant analytical tool to assess the artistic process in a natural context, when it occurs, allowing ecological validity. It is possible to realize various versions of the CRD depending on the context, the creative field, and any other considerations. The CRD has two parts: a part listing the stages of the creative procedure (which will be as exhaustive equally possible based on the present study) and a role listing factors such as cognitive, conative, emotional, and ecology ones that may come into the creative process (for example, we could assess squad piece of work; Peilloux and Botella, 2016). Finally, the CRD allows the artistic procedure to be modeled for individuals in situ during all the time needed for their creation. Thus, the purpose of CRD will be to observe the link and the transitions between the stages of the artistic artistic process and to examine which factors volition be involved at each stage. However, to exercise that, nosotros demand, in the present report, to list as exhaustively as possible all the stages of the visual artistic artistic process which will allow a specific CRD to be created to observe the process in further study.

Methods

Participants

The sample was composed of 28 students in the 2nd year of a visual graphic arts school. Seventeen students were female and 11 were male (mean age = 20.9 years old, sd = 1.vii, span = 19–24 years onetime). The rational for the pick of this sample was to interview participants with some artistic experience but to avoid a sample habituated to interviews with strongly formatted ideas. In previous research, when we interviewed professional artists (Botella et al., 2013), we noticed some routines in the discourse. Some artists were familiar with interviews and they narrated a story, commonly the story of an artwork but sometimes the reports were distanced from their own story and therefore from their ain creative procedure.

Interview Guide

The goal of the report was to construct a list of the stages of the process of visual artistic inventiveness. Given this, the interview guide was purposely kept short and open, and consisted of only 2 questions: (1) "how does your creative procedure generally have place?" and (2) "how would you lot proper noun the stages that you take just mentioned?"

The interviewer's follow-up questions allowed the students to describe another phase of their creative procedure. The principal prompts consisted of reformulating the terminal sentence provided by the participant and request "When you did […], what do you practice next?" or "Can you describe more precisely what you do when you cease […]?" It was very of import to not induce ideas with our questions and then, we just reformulated the words used by the visual art students themselves to aid them list the stages of their creative artistic process.

Interviews were semi-structured and lasted x min on average. Obviously, the interviews were too short to capture all the complexity of the artistic creative process with its "stop-and-go" or "grab what y'all can" aspects (Osborn, 1953/1963). Even so, to make an inventory of the stages it was enough. The added value of this report is to focus the interview on the stages that visual art students themselves considered and how they named them.

Procedure

Ideals approval was not required according to our institution's guidelines and national regulations. After the participants provided informed consent, the volunteer students were interviewed in their art schoolhouse, during their course on creativity. This situation made it easier for them to remember the stages of their visual artistic creative process. Participants were led to a divide room to take office in a one-on-one word with the interviewer. The interviewer (then, the analyst) was the beginning author, with knowledge on the literature about creativity and artistic process, who had already realized many interviews mainly with artists (Botella et al., 2013; Glaveanu et al., 2013). The prompts consisted of reformulating what participants said to assure that we did non induce the utilize of sure terms.

Results

Given our objective was to inventory the stages of the artistic creative process, we analyzed the words employed during the interviews. The terms used by students were grouped in equivalence sets using Tropes software which presents references cited at least three times. The proper name retained for the category was the most cited term; others citations were used to draw the category. In the first function of the analysis, we focus on the stages of the process of visual artistic creativity that emerged spontaneously from the participants' soapbox. Hence, we volition deal with the responses to the first question in the interview guide. In the 2nd part, we will examine the stages named past the students. Finally, we volition confront these two analyses, in lodge to check whether the stages named by the participants do indeed represent to those referenced in the discourse. It is expected that the names volition exist very similar for both analyses but this confrontation serves to cross-bank check the categorized sets of terms and their labels.

Identifying the Stages of the Process From the Students' Open Soapbox

Based on the students' responses to the start question in the interview guide, all the terms cited at least iii times were listed. It should exist noted that the software tin already grouping some terms co-ordinate to the context: for instance, "incommunicable" and "not possible" are considered as similar. The software can also identify co-occurrences of combined terms, such equally "applied fine art." So, terms were grouped by the analyst according to the context in which they appeared (see Table ii). The context helped united states to identify the terms apropos the artistic process. When terms seem to correspond to the same idea, they were grouped together, such every bit "Sketchpad," "sketch," "drawing," and "writing." We conducted an ascendant hierarchical classification, grouping two by two the closest words. The number of clusters was not decided in advance and the grouping was stopped when we considered that another aggregation was not relevant. Terms that did not refer to the artistic process were not retained ("twelvemonth," "fine art," "phase," "have an inclination toward," "social environs," etc.).

Table 2. Categories of references used in the students' discourse.

In Table 2, the number of times that a category was cited and how many students referred to this category are indicated because the aforementioned student could mention the same category several times. One phase consists of approaching the subject matter, taking possession of it, gaining knowledge nigh the subject area-related words used (S14: "So, y'all go in that location, you lot throw yourself"). Reflection refers to the students' efforts for deciphering and agreement the topic. This stage may imply visualized images (S1: "I think, I get things straight for a week"). The stage of enquiry involves the pupil going to the library in order to collect references to artists and to prior piece of work (S4: "I am looking for references to see what has been done. There is a time of documentation"). And then the pupil constructs a knowledge base of works which have already been produced, before distancing themselves from these works. Inspiration is based on one'southward impression and feel of a given field of study thing (S24: "it's really how I experience it and I know I'll be able to continue on it"). Although the term illumination was not used, we can notation the presence of this stage in students' reports of "an thought suddenly appearing" or "coming beyond an idea by accident" (S6: "It's non totally conscious. It comes like this. Ideas come solitary. We experience it. And afterward that, we try from that to bring this idea in a frame that could be appropriate"). Trials correspond to producing notebooks containing sketches. Students tape their sketches, and make attempts before they can find an idea (S27: "I attempt to explore as many things equally possible"). System consists of students ordering, guiding, and organizing their arroyo by mixing existing ideas and combining them together (S25: "There is an order to exist defined"). The student volition have to select an idea out of all those produced (S25: "I will select what is best"). A work involves inevitably one or more techniques (S18: "Whether computer, photoshop or drawing, blitz. Really, exploit everything I know as technical earlier you get to a final thingy"). Depending on individual preferences and on the constraints of the state of affairs, the student will choose to utilize a detail technique. The product of the creative procedure is made concrete during the stage of realization (S9: "I go directly to the realization with the materials. I take the painting and I exercise it directly to clean"). The phase of specification indicates that the student improves, specifies and adds the finishing touches to the work (S15: "I am improving what I have already drawn. Above all, I simplify. Because I tend to put besides much"). Finalization refers to the stage in which the work is completed, finished, and voluntarily stopped (S28: "I am very meticulous and I spend a lot of time on the stop"). The stage of judgment corresponds to assessing the work that has been produced (S27: "More often than not, I accept to finish in advance so I can expect at it for a long fourth dimension and then see if something is missing or non. Because sometimes, I have the impression that it is not finished at all and, by dint of looking at it, finally I realize that information technology misses goose egg or that it misses things precisely"). The presentation is the moment when students present their work to their teachers (S20: "Information technology's when I show to the teachers"). The phase of failure indicates that the student has abased something, be it the work or an idea. In the latter instance, the student throws away one thought and starts something new, or starts again based on an existing work (S3: "If information technology'south not good, I practise not get out, I start again. It happens to me oft when I'm done and it'due south ugly, that I know information technology's non good, I don't care, I spend another 8 hours, 10 hours to rework another volume. In general, when I resume information technology'south still the same theme, only it's not the same thought").

Identifying the Stages of the Process Named by Students

This analysis focused on the second question in the interview guide, i.e., how the students named the stages in their visual artistic creative process. Terms were grouped in Tabular array iii. From at that place, we were able to identify 16 stages in the process of visual artistic inventiveness.

Table 3. Categories used in naming the stages of the artistic process.

Immersion refers to assimilating the work to be done; it involves listening to the instructions given by the teacher, defining the words in the topic, and entering into the project. Reflection relates to a class of brainstorming where the student attempts to understand, to decipher the topic and to reflect upon information technology. Research may focus on artists, documents, books, the Internet, and aims for the students to construct a noesis base for themselves. Inspiration seems to exist related to intuition and instinct. Apparition refers to ideas being found and actualization of their own accord. Trials designate all the try-outs, notes, sketches, notes, and testing fabricated by the students. Assembly refers both to attempting a new approach and to the dissimilar ideas that emerge from assembling ideas together. The stage of new ideas includes different ideas which emerge. The stage of selection involves choosing an idea. Materials were also mentioned in terms of photography and book. The stage of realization refers to action, limerick, concretization, product, and to the transfer of an thought to a medium. The stage of specification can be viewed equally increasing the depth of analysis, developing the work, and correcting it. Finalization is the completion of the work. The stage of test indicates taking a pace dorsum from the work, formulating an analysis of the work, and questioning one'due south ain work. Presentation refers to the fact that students must justify, explain, and present their work. The fact that students permit the work settle, assimilate and exhale may refer to the concepts of breaks and incubation. Finally, the teacher was also cited as a part of the stages of the process of creative creativity when students enquire for help because they are stuck or when they need reference.

Confronting the Two Analyses and Identifying the Stages in the Process of Visual Creative Creativity

This confrontation allowed us to verify that the students had indeed described all the stages in their creative process, thus validating the number and nature of steps involved in the process to integrate these in the CRD (meet Table 4). Fourteen stages appear both in the gratis soapbox and the stages named by the students, one stage was mentioned only in the discourse, and 2 stages were mentioned when naming the stages of the process. In the stop, 17 different stages were retained. Only the stage referring to instructor was not retained because the instructor corresponds more to a social support than a stage of the process. Additionally, the teacher can be partially included in the stage of research as a source of knowledge.

Table four. Confrontation between the two analyses.

In the phase of immersion, the goal is to apprehend the topic at hand and to listen to the instructions given by the instructor. Some students may sometimes feel the need to define the words and concepts present in the topic (S1: "What I exercise personally, I accept the words and I have a few days or even a calendar week depending on the time of the project to get things direct, remember almost it because sometimes there are topics that are very vague similar that and we sympathise not at all. And then it gets more and more precise."). Such an arroyo allows them to "soak upward" the topic and leap into the fray and start themselves off (S18: "The matter is, I often tend to get into an idea. When you give me a subject area or what. I guess right at present the affair and what I could do with information technology."). Reflection makes it possible to sympathise what should be done, and to decipher the teacher's requirements. Mental piece of work may sometimes begin with visualizing an image. This epitome may guide the student throughout the process (S20: "Me, I cannot start looking for a give-and-take if I do not visualize the final "what." Even if I will redo later on…"). During the stage of research the students learn to search for artists, references, documents, and work already produced about the topic that they are apprehending. A solid noesis base of operations and a civilisation regarding prior work might help create new and original ideas (S15: "The teachers give us research. Because when we come here, we practise not necessarily have a civilisation in terms of graphics, anyway. They give the states references to become see. This is considering, oft, it is sometimes references of choreographers and information technology goes a little beyond the field of visual arts and graphics. And suddenly, it allows to compare universes. And so nosotros improve what we practise."). Inspiration occurs when an idea emerges slowly and gradually. According to the students, it is based on instinct, impressions, and feelings (S14: "Sometimes y'all feel that y'all take a lot of information and from that, y'all tin can start to grab something"). Although the word illumination was never mentioned, the literature places a strong accent on this stage. It is translated in the interviews as "bogeyman," "coming beyond an idea," and "hey, there's an idea!," where the idea sometimes comes from an unknown place (S5: "Sometimes it comes alone."; S21: "I did not look. It fell on me in fact. And then after, you take to bounce dorsum."). The use of notebooks gather the students' trials, their sketches and their notes. They permit the students to endeavor out and examination an image. More importantly, the teachers examine the notebooks to follow the evolution of the students' work. Notebooks show students' train of thought, how they achieved a particular work (S2: "These ideas, I e'er put them in my notebook to show them to the instructor."). Assemblies of ideas are the result of logical connections that the student establishes between several existing ideas. Thus, it corresponds to the direction which the educatee wishes to give to the production and future work (S3: "I try to mix everything together"). The stage of ideation was non mentioned in the discourse. Information technology was merely mentioned when students were naming the stages. Pick refers to classifying and sorting ideas. The goal here is to choose which ideas can be exploited, and which, on the other paw, should be set aside (S24: "Information technology's hard to cull, on which runway to go"). Technique is a very important aspect for aspiring artists. They must comply with codes, rules, find a typography, a style of their own. Although this stage was rarely named every bit such by the students, it is very present in their discourse (S27: "I put in some technique. For example, I had been taught a petty virtually the technique of collage, I had exploited this thing after because I liked information technology. I tried to misconstrue it from school in my ain fashion."). Realization refers to translating an idea into an epitome. It is at this point that the limerick and production of a material work accept shape (S18: "I effort to realize it at all-time"). The stage of specification reveals the improvements, the added details, the changes, and corrections made to the piece of work underway. At this point, students add details that they had not necessarily planned initially (S23: "When I have something that I like, I dig information technology even more to see if I tin can exploit it"). Finalization refers to the point at which the educatee decides that the work is washed. The work is complete, or virtually at the signal of completion (S17: "Information technology's never finished. For renderings, there is a fixed engagement and there it is finished. But just for a grade. But in general, we always have stuff to add together, photos to resume, stuff to put back. Generally, nosotros exercise it if we have a jury at the stop of the year. And hither, nosotros attempt to finalize the projection of the starting time of the yr."). The term judgment was not explicitly mentioned either. However, it can exist found in the terms of taking a step dorsum, questioning one'south work, observing it with bang-up attention, and thus assessing it (S3: "I expect at [my work]. I think instead of teachers. If I was a instructor, if I wait at, if there is something incorrect, if in that location is a stain, if I see that there is something wrong, if information technology is not proficient, well cut, I'll start all over again."). Although this phase was not directly mentioned in the students' discourse, the stage of the pause also seems to exist. Its goal is to let the ideas remainder, assimilate, settle and "exhale." The discourse suggests also the presence of trial and error. Because the word "failure" seems a trivial strong, we retain the term of "abandoning," whose connotations are less negative (S3: "Sometimes I change my idea and sometimes, when I work, information technology'due south non possible similar that").

Discussion

The goals of this study were to determine the nature and number of stages present in the artistic visual artistic process in gild to build a specific CRD. 20-eight art students were asked to draw their process of visual artistic creativity and to proper noun its stages. By comparing the discourse of these art students and the names they gave to the various stages of their piece of work, we identified 17 stages.

Immersion is nowadays in several existing models. It corresponds to preparation in Wallas' (1926) model (come across Table 5 for a synthesis). Wallas views training as a preliminary analysis which makes it possible to define and set the problem. The aforementioned idea is present in Carson's (1999) consulting-axial model and in the work on the creative procedure of actors (Blunt, 1966; Nemiro, 1997, 1999). Osborn (1953/1963) speaks instead of orientation, in which the individual identifies the problem that is to exist solved. Shaw (1989, 1994) proposes also the term "immersion." Reflection is typically included in training. Osborn proposes a phase when the individual takes a stride dorsum to examine the connections that exist between different ideas. More recently, this stage of reflection was identified in interviews with professional artists (Botella et al., 2013). The stage of research is required past the school of art (S8: "We have a lot of instructions from the teachers who help us. We must go through research."). Research is also more often than not included in training. It should be noted that in Treffinger's model (Treffinger, 1995), preparation is called understanding. The goal here is for the individual to search for information regarding the problem at paw. Also, Runco (1997) mentions a stage of information. Hither, the research stage could assistance visual art students to differentiate their own work from previous ones (Bruford, 2015). In the interviews with professional person artists (Botella et al., 2013), this search stage was coupled with reflection, as a search for ways (i.e., material or technological) to transform the initial thought into a real product.

Table 5. Correspondence between the stages retained in the nowadays report and the existing stages in research field.

Inspiration corresponds to intuition and metacognition (Cropley, 1999). Amid other things, it allows us to place which arroyo will be more efficient than some other. Policastro (1995) defines intuition as an implicit form of data processing, which is intended to anticipate and guide creative research. According to her, intuition may allow an unconscious shift from incubation to illumination. Notwithstanding, intuition was never considered a phase in the artistic process or in the artistic process. Therefore, information technology is a stage that is specific to the current written report. As described past the students, the inspiration stage is close to the stage on intimation added betwixt incubation and insight (Sadler-Smith, 2016). It is surprising and interesting that visual fine art students consider inspiration every bit a stage of their creative process. So, a replication of this study will be necessary to confirm if it is actually a stage or if it is a factor involved in the creative process. The give-and-take "illumination" was not mentioned by the students as such. Numerous authors take previously shown that the illumination stage was seldom mentioned by students in fine art. Doyle (1998) has described illumination as an accident, where the solution emerges in a sudden and unexpected fashion (Wallas, 1926). Hence, the description that the students made of this stage might be termed illumination: the idea comes or appears in an unexpected manner. Other authors believe that this experience of illumination would, in virtually cases, be more gradual than sudden (Ghiselin, 1952; Gruber and Davis, 1988; Weisberg, 1988). Although information technology is possible that illumination is not a part of all creative processes, or that the creators might not always be conscious of it, the stage of illumination remains a fundamental phase in the creative procedure, considering information technology is at this stage that the idea takes shape.

The trials, tests, and lilliputian fabricated by students may correspond to the stage of idea development in Mace and Ward's model (Mace and Ward, 2002). In their description of the artistic procedure, Mace and Ward argue that, during the development of an idea, the artist will structure, complete, and restructure the idea. Authors signal that this trial stage will allow artists to form a more precise idea of the initial project for themselves. This stage is worked in Art schoolhouse with sketchpads.

Assembly corresponds to the microprocess of divergent thinking, in which ideas are assembled and mixed together. In contrast, convergent thinking makes information technology possible to focus on a single idea (Guilford, 1950). This way of thinking allows individuals to find the one and only solution to a problem. The generation of ideas that take not nonetheless been checked and assessed corresponds to ideation (Carson, 1999). Osborn (1953/1963) mentions a stage of synthesis, which consists of putting ideas together and distinguishing relations between them.

Selection refers to concentration (Carson, 1999). Concentration makes information technology possible to focus the attention of the private on those solutions accounted to be adequate, and to reject other solutions. No model emphasizes the phase of choosing a technique. Yet, the artist must place the technique that will allow them to brand the idea materialize in the all-time possible way. During the interviews with professional artists, technical issues were included in the stage of documentation (Botella et al., 2013). However, in the present study, considering 71.43% of the students mentioned this stage in their discourse and 17.86% named it directly, we decided to consider "technique" as a specific stage of the visual creative artistic process. In further studies, information technology volition be interesting to explore if this stage is specific to visual arts or if information technology is a more mutual phase apropos other creative domains.

Specification might correspond to elaboration. Berger et al. (1957) defined elaboration as the individual's ability to provide detail to the ideas produced. This stage may too tie in with artistic explanation, whose goal is for the creative person to explain the ideas (Shaw, 1989, 1994).

Realization refers to the creative production (Treffinger, 1995) or to creative synthesis (Shaw, 1989, 1994). The goal here is to make the idea concrete. "Technique" is generally included in this stage. However, it seems that production points to the act of creating and to the gestures involved rather than to the cognitive or emotional choice of a technique. Mace and Ward (2002) speak likewise of realization, i.e., the transformation of an idea into a "concrete entity." They note that for some physical arts and for a wide variety of artistic media it is necessary to have a detailed idea of what the creative person is going to do. Hence, some decisions—such equally, for example, those related to the choice of a technique—should be predictable.

Finalization corresponds, at least in role, to the finition phase in Mace and Ward (2002). The authors argue that finalization implies that the individual has decided that his/her piece of work is finished. If the artist considers the work to be successful and satisfactory and they may cull to exhibit it. In that case, the stage of finalization also includes hanging up or exhibiting the work.

The stage of judgement of the creative product is very often named in models of the creative process. In detail, Wallas (1926) writes about verification, where the individual assesses the thought that has emerged. At this stage, one must take a step back from one's work and assess it. Verification may be of two kinds: "internal" verification, i.e., a comparison betwixt the idea that has been produced and the thought formed during illumination or "internal" verification, which consists of anticipating the reactions of the audience (Armbruster, 1989). According to Busse and Mansfield (1980), verification may have place before during the procedure, as the individual first verifies the ideas and so elaborates a solution. Other authors have argued that judgment occurs at a later on stage. For example, Osborn (1953/1963) considers that evaluation is the moment when the individual evaluates the chosen thought. When describing the creative process, Osborn (1953/1963) mentions the stage of analysis, in which the private takes a step back to examine the connections that class between ideas and their importance. In dissimilarity, Shaw (1989, 1994) addresses the concept of validation, thus emphasizing the importance of this stage. According to him, personal validation consists of appreciating one's own piece of work and in using the feel acquired over the course of this procedure to generate a new artistic process. In addition to personal validation, at that place exists a commonage level of validation. The latter deals with the evaluation of a artistic production by peers, past an audience or by a critic. Collective validation tin only lead to a new process if there is acceptance of the evaluation that has been formulated. If the product is validated, information technology can then be followed past a serial in which the idea is extended to several works (Botella et al., 2013).

The stage of presentation is not typically described as such in models of the creative procedure or of the artistic process; its goal is to present the work to teachers. In the instance of professional person artists, this would refer more than to the sale of a work. However, contempo models included a communication stage (Runco, 1997; Howard et al., 2008; Cropley and Cropley, 2012).

The term "intermission" which has emerged in the stages named by students might correspond to incubation. As we accept seen, this stage is very difficult to appraise and to take into account (Botella et al., 2011), even though it is essential (Patrick, 1937; Dreistadt, 1969; Smith and Blankenship, 1989, 1991; Smith and Vela, 1991), especially to the expression of artistic creativity (Russ, 1993). The words used by the students highlight some unconscious associations. Indeed, they talk virtually letting their ideas residual, letting them assimilate and decant. Incubation is always difficult to evaluate, because information technology relies in well-nigh cases on unconscious work. Finally, although the stage of withdrawal is a subject of research, information technology is non included in most models of the creative process. Only Mace and Ward (2002) have into account a clear possibility of abandoning the process at any fourth dimension. Fifty-fifty if the process is brutally interrupted, the artist develops continuously new knowledge. This knowledge is the result of a perpetual, dynamic interaction with creative practice. Artists extend and refine their repertoire of skills, techniques, and knowledge. Likewise they sharpen their artistic interests and personality. New ideas tin can emerge in this work, to be reused later.

Conclusion

Although this study was express by the interview method—and thus focused on students' implicit theories of their own artistic process—it allowed us to place multiple stages in the process of visual creative creativity. Considering of the implicit theories and the number of models suggesting a linear sequence of stages, sometimes with some loops or cycles possible, it seems too aggressive to empathize the sequence of the stages from interviews. The nowadays written report invites usa to rethink what composes an creative artistic process. Even if nosotros already have a long list of models, none is complete and satisfactory. Information technology is possible that we may need to construct and maintain a list of all the stages of the creative process which can then be adapted to each domain, given that the creative process may vary depending upon the surface area in question (Baer, 1998, 2010; Botella and Lubart, 2015). Given this uncertainty, continued research into the creative process is indicated. For now, the nowadays listing of stages of the visual artistic creative process could help teachers in their coursework. During the interviews, students indicated that the stages of inquiry and the utilise of the diary notebook were required past their art school. This appears equally a limitation of the present study. We are not certain if art students described the prescriptive stages in their Art school or their real stages of cosmos. The question was oriented how their creative process generally takes place but because they are art students and they were interviewed in their art schoolhouse, some prescriptive stages appears in their discourse. However, during the interviews, some students had specified if the stage is prescriptive and we indicated this point throughout this paper. With the updated list, teachers could propose other exercises to guide art students for all the stages. Moreover, exterior an educational context, the demand for consultancy to stimulate business organisation creativity is increasing (see Berman and Korsten, 2010), and the electric current research may also provide a helpful template for the constructive management of creative processes in this area of industrial innovation. However, we accept to be careful about the use of such a list. By conceptualizing the creative process, are we actually at take chances of creating a "uniform" prescriptive model of how to exist artistic? We tin can hypothesize that some creative process are more adjusted to some artistic individuals but information technology would be counterproductive to try to force all individuals to engage in the aforementioned process. The artistic process varies beyond fields (Botella and Lubart, 2015) and probably also across culture, creators' personalities, and tasks.

These stages and more precisely their sequence should be validated in the field, by observing students as they carry out artistic work—notably to make up one's mind the verbal succession of the stages—using a tool like the CRD. Moreover, it will be interesting to observe the collaborative creative process as well as to situate the process in a more global socio-cultural approach. As we saw in the introduction, the artistic process tin can be described using micro-level or macro-level approaches and more than globally takes place in a particular socio-cultural context. These approaches could be used directly during observations of the creative process and associated with cerebral, conative, emotional, and environmental factors involved in the process.

Ethics Statement

All subjects gave written informed consent in accord with the Annunciation of Helsinki.

Author Contributions

MB methodology, interviews, analyses, and writing; FZ methodology and writing; and TL methodology and writing.

Conflict of Interest Statement

The authors declare that the enquiry was conducted in the absence of whatsoever commercial or financial relationships that could be construed as a potential conflict of interest.

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Source: https://www.frontiersin.org/articles/10.3389/fpsyg.2018.02266/full

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