The Art of Vibraphone Playing an Essential Method for Study Performance

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

The creative process is defined as a succession of thoughts and actions leading to original and advisable productions (Lubart, 2001; Lubart et al., 2015). The creative process may be described at 2 levels: a macro level, featuring the stages of the creative process, and a micro level, which explains the mechanisms underlying the creative process, e.g., divergent thinking or convergent thinking (Botella et al., 2016). Although the works carried out on micro-processes tend to agree on a ready of mechanisms that tin be involved in the creative procedure, piece of work focusing on macroprocesses have non achieved consensus regarding the nature or the number of stages involved in the artistic process. Table 1 shows some of the different models that tin exist found in the scientific literature, with overlaps or divisions between some stages of the models. In this paper, nosotros care for micro-processes as contents of a more global, macro-level process, which brand 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 end (exhibiting that piece of work). Moreover, the process can be examined in a psychological and individual or in a socio-cultural perspective (Glǎveanu, 2010; Burnard, 2012). In the nowadays study situated in the visual fine art field, nosotros will consider the artistic artistic process equally an individual phenomenon.

Tabular array 1. Synthesis of some examples of models of creative process.

Art is often considered to exist an archetypal domain of creativity inquiry (Schlewitt-Haynes et al., 2002; Stanko-Kaczmarek, 2012), complimented by research on scientific, musical, design-oriented, and literary creativity (Glaveanu et al., 2013). Even if some overlap tin be observed between different creative 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 process to examine what the artistic creative process could exist. Obviously, this section cannot be exhaustive but offers a beginning consideration of the numerous important stages of the artistic creative process.

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

And then, there is training, the starting time stage described in the early macroprocess model by Wallas (1926). Carson (1999) explained that, in this stage, the individual defines the problem (or understands it; Treffinger, 1995) and gathers information 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 individual discovers an thought. In the artistic process literature, Mace and Ward (2002) proposed a iv-stage model based on interviews with professional artists. For them, the creative process begins with the design of an creative work. Hence, piece of work is initiated past a more-or-less vague idea or impression. Recently, based as well on a series of interviews with professional person artists, Botella et al. (2013) identified six stages in the artistic process in art, starting by an idea or a "vision" in which an image, a sight, a sound resonates with the artist.

Earlier the 2nd main stage described past Wallas (1926), some authors added complementary stages after preparation. Based on a previous review of the literature, Botella et al. (2011) propose a stage of concentration ("I am concentrating on the work I have to do") in which it is possible to focus the creator'due south attention on those solutions deemed to be adequate, and to decline the other solutions (Carson, 1999). Osborn (1953/1963) added analysis, when the creator takes a stride dorsum to identify the relations between ideas and the importance of each idea; and ideation, when the individual develops alternative ideas. Busse and Mansfield (1980) indicated too a phase requiring making an effort in order to solve the problem.

Then, 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 thought associations accept place at a subconscious level (Carson, 1999). Recently, Sadler-Smith (2016) reintegrated a fifth phase in the Wallas' model: intimation occurs between incubation and insight. Intimation is described as an "clan-railroad train" in a fringe witting level, between conscious and unconscious levels (p. 346). Cropley and Cropley (2012) revisited likewise Wallas'southward work and split the stage of incubation into activation and generation. The procedure once more becomes witting in the stage of ideation, with the generation of farther ideas, which are not necessarily judged or assessed. The private then experiences an illumination or insight (Eureka!) with the emergence of an thought, an paradigm or a solution (Wallas, 1926; Carson, 1999). Boden (2004) noted that illumination or insight needs previous thought-processes.

Idea generation tin 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, then, some other phase involving the transformation of these constraints or adaptation of the constraints that are not suitable. For Doyle (1998), there is some class of navigation between diverse knowledge domains, which makes it possible to assess the relevance of this idea. Based on Dewey (1934), Bruford (2015) proposed a pick stage in which the creator choses one selection among several, requiring agency and command abilities. In the field of art, Mace and Ward (2002) named this step idea development in which the artist structures, completes, and restructures the thought. Botella et al. (2013), through interviews with professional artists identified a stage of documentation and reflection during which artists gather more information most the materials and technologies required in club to plough their vision into reality. The last stage described past 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 singled-out phases of synthesis, which consists of gathering ideas together and distinguishing relations between them.

Gruber (1989) argued that the four-stage model is incomplete. For Russ (1993), there lacks a phase of awarding, or deployment of the creative product. Treffinger (1995) added effectively a stage of idea product, leading to activeness past planning. This work corresponds to the evolution and implementation of ideas through a search for solutions (evaluation, selection, and redefinition), and so the acceptance of this solution (promoting an idea, looking for its strengths and drawbacks). This final stage makes it possible to materialize the ideas that have been found and to solve the trouble. In this vein, in the field of art, Mace and Ward (2002) described the realization of an idea, during which the artist transforms that idea into a physical entity. Botella et al. (2011) as well 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 artistic gesture (sketches, drafts, mock-ups), and and so a phase 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 similar action, but the underlying cognitive micro-processes are different. In the first case, the goal is to produce in order to formulate an idea whereas in the second case, it is to produce in order to implement an idea that already exists. In a report consisting of interviews of professional person artists, Botella et al. (2013) confirmed the stages of start sketches to give a material class to the initial project, testing the forms and ideas that originated from reflection and preliminary work, and conditional objects, "drafts" and virtually-finished products. Revisiting Wallas' model, Cropley and Cropley (2012) mentioned a phase of communication, as Bruford (2015) with musicians.

For Osborn (1953/1963), the terminal 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 terminal step of the artistic procedure, called finalization, brings the artistic piece of work to conclusion (or validation co-ordinate to Botella et al., 2011; Cropley and Cropley, 2012). The artist reassesses the product and may choose to finish, to elaborate, abandon, filibuster, store, or destroy it. If the creative person believes the mission that was gear up has been achieved, the creative person may choose to exhibit the production. Recently, professional artists suggested to add one more stage with series, transforming a first object to many objects (Botella et al., 2013).

All these models were developed based on rational or empirical approaches. Original works and models from Poincaré and Wallas' were conceived based, respectively, on their ain 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 creative task. Most of the "stage models" are so based on this kind of rational or empirical analyses, with verbalizations, specifications, and clarifications of the processes by the participants themselves in the majority of cases. Therefore, these models maybe exist considered as a specific approach to creativity, distinct from the psychometric, problem finding or cerebral experimental approaches (Kozbelt et al., 2010). Recent studies on the four-stages model of Wallas confirmed over again that researchers do not agree on the number of stages: Cropley and Cropley (2012) establish 7 stages whereas Sadler-Smith (2016) establish v stages based on Wallas' book.

Objectives

Models of the creative procedure and of the artistic process do not agree on the nature or on the number of steps involved in a creative artistic procedure (run across Howard et al., 2008). This lack of a consensus could be explained by the fact that (a) the creative process is a circuitous phenomenon as described past Osborn (1953/1963) who believed that creation is fix off by "end-and-become" or "grab what you tin can"-type processes; (b) models of a creative process are synthetic based on a specific artistic 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 process is most often described in general terms, as if it should apply to all artistic domains, whether it is art, scientific discipline, music, writing, or design; (c) descriptions of the creative process do not always take into account the definition of creativity, in particular the contextually rich, situated nature that originality, and ceremoniousness may have; and (d) the methodologies used were different [be it a review of the literature (Busse and Mansfield, 1980; Botella et al., 2011), a series of interviews with novelists (Doyle, 1998), with professional person artists (Mace and Ward, 2002; Botella et al., 2013), or an applied and consulting-based approach (Carson, 1999)].

The aim of the present report is to question straight some stakeholders of artistic inventiveness, namely visual art students. However, information technology is perhaps too ambitious to ask them to depict completely their artistic process. We suggest 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 same study. So, the students interviewed here describe only what constitutes, for them, the stages of their process of artistic creativity. We ask them specifically to list the stages of their procedure in gild to exist as exhaustive as possible. This qualitative study makes it possible to identify 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 study, we volition not able to take a macro vision of the entire artistic creative procedure merely we will construct an inventory of the stages involved to motion picture this process.

Given the descriptive nature of the present inquiry on the artistic creative process, the findings tin exist integrated in further work equally a part of the Artistic procedure Written report Diary (CRD, Botella et al., 2017). The CRD is a useful and relevant analytical tool to assess the creative process in a natural context, when it occurs, allowing ecological validity. It is possible to realize diverse versions of the CRD depending on the context, the creative field, and any other considerations. The CRD has ii parts: a part listing the stages of the creative process (which will be equally exhaustive equally possible based on the present study) and a office listing factors such as cognitive, conative, emotional, and environmental ones that may come into the creative process (for example, nosotros could assess team piece of work; Peilloux and Botella, 2016). Finally, the CRD allows the artistic process 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 betwixt the stages of the artistic creative process and to examine which factors volition exist involved at each stage. However, to do that, nosotros demand, in the present study, to list equally exhaustively as possible all the stages of the visual creative artistic process which volition let a specific CRD to be created to observe the process in farther written report.

Methods

Participants

The sample was composed of 28 students in the second year of a visual graphic arts school. Seventeen students were female and xi were male (hateful age = xx.9 years one-time, sd = ane.7, span = 19–24 years old). The rational for the choice of this sample was to interview participants with some artistic experience just to avoid a sample habituated to interviews with strongly formatted ideas. In previous research, when nosotros interviewed professional artists (Botella et al., 2013), we noticed some routines in the soapbox. Some artists were familiar with interviews and they narrated a story, usually the story of an artwork just sometimes the reports were distanced from their own story and therefore from their own creative process.

Interview Guide

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

The interviewer's follow-upwards questions allowed the students to depict another phase of their creative process. The main prompts consisted of reformulating the last sentence provided by the participant and asking "When y'all did […], what do you do next?" or "Can you describe more precisely what you do when you stop […]?" It was very of import to not induce ideas with our questions so, 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 ten min on average. Obviously, the interviews were too short to capture all the complexity of the artistic creative process with its "stop-and-become" or "take hold of what you can" aspects (Osborn, 1953/1963). Still, to make an inventory of the stages it was plenty. The added value of this study is to focus the interview on the stages that visual art students themselves considered and how they named them.

Process

Ethics approval was not required according to our institution's guidelines and national regulations. Subsequently the participants provided informed consent, the volunteer students were interviewed in their fine art school, during their class on creativity. This state of affairs made information technology easier for them to recall the stages of their visual artistic creative process. Participants were led to a separate room to take function in a one-on-ane word with the interviewer. The interviewer (and then, the analyst) was the offset author, with knowledge on the literature nearly 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 clinch that we did not induce the utilize of certain terms.

Results

Given our objective was to inventory the stages of the creative artistic process, nosotros 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 iii times. The name retained for the category was the most cited term; others citations were used to describe the category. In the first part of the assay, we focus on the stages of the process of visual creative creativity that emerged spontaneously from the participants' discourse. Hence, we will deal with the responses to the commencement question in the interview guide. In the second part, we volition 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 exercise indeed represent to those referenced in the discourse. It is expected that the names will be very similar for both analyses but this confrontation serves to cross-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 beginning question in the interview guide, all the terms cited at least three times were listed. It should exist noted that the software tin already group some terms according to the context: for example, "incommunicable" and "non possible" are considered as similar. The software tin can also identify co-occurrences of combined terms, such as "practical art." And then, terms were grouped past the analyst co-ordinate to the context in which they appeared (meet Table two). The context helped us to identify the terms concerning the creative process. When terms seem to correspond to the same thought, they were grouped together, such as "Sketchpad," "sketch," "cartoon," and "writing." Nosotros conducted an dominant hierarchical classification, grouping two past 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 creative process were non retained ("year," "art," "phase," "have an inclination toward," "social environment," etc.).

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

In Tabular array 2, the number of times that a category was cited and how many students referred to this category are indicated considering the same educatee could mention the same category several times. Ane stage consists of approaching the subject affair, taking possession of it, gaining knowledge virtually the subject-related words used (S14: "So, you go at that place, you throw yourself"). Reflection refers to the students' efforts for deciphering and understanding the topic. This stage may imply visualized images (S1: "I think, I get things straight for a calendar week"). The stage of research involves the student going to the library in club to collect references to artists and to prior piece of work (S4: "I am looking for references to see what has been done. At that place is a time of documentation"). Then the student constructs a knowledge base of operations of works which accept already been produced, earlier distancing themselves from these works. Inspiration is based on 1's impression and experience of a given subject thing (S24: "it's really how I feel information technology and I know I'll be able to continue on it"). Although the term illumination was not used, we can note the presence of this stage in students' reports of "an idea suddenly appearing" or "coming beyond an idea by accident" (S6: "It's not totally conscious. It comes like this. Ideas come alone. We feel it. And after that, we try from that to bring this thought in a frame that could be advisable"). Trials correspond to producing notebooks containing sketches. Students record their sketches, and make attempts before they tin find an thought (S27: "I try to explore every bit many things as possible"). Arrangement consists of students ordering, guiding, and organizing their approach by mixing existing ideas and combining them together (S25: "There is an order to be defined"). The student will have to select an idea out of all those produced (S25: "I volition select what is best"). A work involves inevitably ane or more techniques (S18: "Whether computer, photoshop or drawing, blitz. Really, exploit everything I know as technical before you lot become to a final thingy"). Depending on individual preferences and on the constraints of the situation, the student will choose to use a detail technique. The production of the artistic process is made concrete during the stage of realization (S9: "I go directly to the realization with the materials. I take the painting and I do it directly to clean"). The stage of specification indicates that the student improves, specifies and adds the finishing touches to the work (S15: "I am improving what I have already fatigued. Above all, I simplify. Considering I tend to put too 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 end"). The stage of judgment corresponds to assessing the work that has been produced (S27: "Generally, I have to end in accelerate so I can look at it for a long time and and then see if something is missing or not. 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 nothing or that it misses things precisely"). The presentation is the moment when students present their work to their teachers (S20: "It's when I bear witness to the teachers"). The phase of failure indicates that the student has abandoned something, be it the work or an idea. In the latter instance, the student throws abroad one idea and starts something new, or starts again based on an existing work (S3: "If it'due south not good, I do not leave, I start again. It happens to me oft when I'm done and information technology'south ugly, that I know it's non good, I don't care, I spend another 8 hours, ten hours to rework another book. In full general, when I resume it's still the same theme, simply it's not the same idea").

Identifying the Stages of the Procedure Named past Students

This analysis focused on the second question in the interview guide, i.e., how the students named the stages in their visual creative artistic process. Terms were grouped in Tabular array 3. From there, nosotros were able to identify 16 stages in the process of visual artistic inventiveness.

Table iii. Categories used in naming the stages of the creative process.

Immersion refers to assimilating the work to be washed; it involves listening to the instructions given by the instructor, defining the words in the topic, and entering into the project. Reflection relates to a grade of brainstorming where the educatee attempts to empathise, to decipher the topic and to reflect upon it. Research may focus on artists, documents, books, the Internet, and aims for the students to construct a knowledge base for themselves. Inspiration seems to exist related to intuition and instinct. Apparition refers to ideas being plant and appearing of their own accord. Trials designate all the try-outs, notes, sketches, notes, and testing made by the students. Assembly refers both to attempting a new arroyo and to the different ideas that emerge from assembling ideas together. The phase of new ideas includes unlike ideas which emerge. The stage of option involves choosing an thought. Materials were as well mentioned in terms of photography and book. The phase of realization refers to action, composition, concretization, production, and to the transfer of an idea to a medium. The phase of specification can be viewed as increasing the depth of assay, developing the work, and correcting it. Finalization is the completion of the work. The stage of examination indicates taking a step back from the work, formulating an analysis of the work, and questioning ane'southward own work. Presentation refers to the fact that students must justify, explain, and present their work. The fact that students let the work settle, digest and breathe 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 ask for aid because they are stuck or when they demand reference.

Against the 2 Analyses and Identifying the Stages in the Process of Visual Artistic Inventiveness

This confrontation allowed us to verify that the students had indeed described all the stages in their creative procedure, 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 complimentary discourse and the stages named by the students, one phase was mentioned only in the discourse, and ii stages were mentioned when naming the stages of the process. In the stop, 17 dissimilar stages were retained. Only the stage referring to teacher was non retained because the teacher corresponds more to a social back up than a stage of the procedure. Additionally, the teacher tin can be partially included in the phase of research every bit a source of cognition.

Table 4. Confrontation between the ii analyses.

In the stage of immersion, the goal is to apprehend the topic at hand and to listen to the instructions given by the teacher. Some students may sometimes feel the demand to define the words and concepts present in the topic (S1: "What I do personally, I take the words and I have a few days or fifty-fifty a calendar week depending on the fourth dimension of the project to get things straight, call back about information technology considering sometimes there are topics that are very vague like that and we understand not at all. And and then information technology gets more and more than precise."). Such an approach allows them to "soak upward" the topic and spring into the fray and start themselves off (S18: "The thing is, I frequently tend to get into an thought. When you give me a subject or what. I estimate right now the thing and what I could do with it."). Reflection makes information technology possible to sympathise what should be washed, and to decipher the teacher's requirements. Mental piece of work may sometimes brainstorm with visualizing an image. This paradigm may guide the pupil throughout the process (S20: "Me, I cannot starting time looking for a discussion if I exercise non visualize the final "what." Fifty-fifty if I volition redo after…"). During the stage of research the students larn to search for artists, references, documents, and work already produced about the topic that they are acumen. A solid noesis base and a culture regarding prior work might help create new and original ideas (S15: "The teachers give us research. Because when nosotros come up here, nosotros practise non necessarily have a civilization in terms of graphics, anyway. They give us references to go see. This is considering, often, it is sometimes references of choreographers and it goes a piddling beyond the field of visual arts and graphics. And of a sudden, it allows to compare universes. And so we improve what nosotros do."). Inspiration occurs when an idea emerges slowly and gradually. According to the students, information technology is based on instinct, impressions, and feelings (S14: "Sometimes yous feel that you have a lot of data and from that, you can first to grab something"). Although the word illumination was never mentioned, the literature places a stiff emphasis on this stage. It is translated in the interviews as "apparition," "coming across an thought," and "hey, there's an thought!," where the idea sometimes comes from an unknown place (S5: "Sometimes information technology comes lone."; S21: "I did not look. It fell on me in fact. And and so after, y'all have to bounce back."). The use of notebooks gather the students' trials, their sketches and their notes. They allow the students to try out and test an paradigm. More than importantly, the teachers examine the notebooks to follow the development of the students' piece of work. Notebooks show students' train of thought, how they accomplished a detail work (S2: "These ideas, I ever put them in my notebook to show them to the teacher."). Assemblies of ideas are the result of logical connections that the student establishes betwixt several existing ideas. Thus, it corresponds to the direction which the educatee wishes to give to the production and future work (S3: "I attempt to mix everything together"). The stage of ideation was not mentioned in the discourse. It was only mentioned when students were naming the stages. Selection refers to classifying and sorting ideas. The goal here is to choose which ideas tin can exist exploited, and which, on the other paw, should be set aside (S24: "It's hard to choose, on which rails to get"). Technique is a very important aspect for aspiring artists. They must comply with codes, rules, find a typography, a way of their own. Although this stage was rarely named as such by the students, it is very present in their soapbox (S27: "I put in some technique. For example, I had been taught a little about the technique of collage, I had exploited this matter after considering I liked it. I tried to distort it from school in my ain manner."). Realization refers to translating an idea into an image. It is at this betoken that the limerick and production of a material work take shape (S18: "I effort to realize it at best"). The stage of specification reveals the improvements, the added details, the changes, and corrections made to the work underway. At this indicate, students add details that they had non necessarily planned initially (S23: "When I take something that I like, I dig it fifty-fifty more to meet if I can exploit information technology"). Finalization refers to the point at which the pupil decides that the work is done. The work is complete, or almost at the indicate of completion (S17: "It's never finished. For renderings, in that location is a stock-still engagement and there it is finished. But just for a grade. But in general, nosotros always have stuff to add, photos to resume, stuff to put back. Generally, we practise it if nosotros have a jury at the end of the year. And here, we endeavour to finalize the project of the get-go of the year."). The term judgment was non explicitly mentioned either. However, it tin be constitute in the terms of taking a footstep back, questioning ane's piece of work, observing it with corking attention, and thus assessing it (S3: "I wait at [my work]. I think instead of teachers. If I was a teacher, if I look at, if there is something wrong, if there is a stain, if I see that there is something incorrect, if information technology is not good, well cut, I'll start all over once again."). Although this phase was not directly mentioned in the students' discourse, the stage of the intermission as well seems to exist. Its goal is to allow the ideas rest, digest, settle and "exhale." The discourse suggests too the presence of trial and mistake. Because the word "failure" seems a little strong, we retain the term of "abandoning," whose connotations are less negative (S3: "Sometimes I change my idea and sometimes, when I work, it's not possible like that").

Discussion

The goals of this study were to determine the nature and number of stages present in the creative visual artistic process in order to build a specific CRD. Twenty-8 fine art students were asked to describe their procedure of visual artistic creativity and to name its stages. By comparison the discourse of these art students and the names they gave to the various stages of their work, we identified 17 stages.

Immersion is present in several existing models. It corresponds to preparation in Wallas' (1926) model (encounter Tabular array v for a synthesis). Wallas views training equally a preliminary assay which makes it possible to define and set up the trouble. The same idea is present in Carson's (1999) consulting-centric model and in the work on the artistic process 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 preparation. Osborn proposes a stage when the individual takes a stride back to examine the connections that exist between unlike ideas. More recently, this phase of reflection was identified in interviews with professional person artists (Botella et al., 2013). The stage of research is required by the school of art (S8: "We have a lot of instructions from the teachers who help us. Nosotros must get through enquiry."). Research is also generally included in preparation. It should be noted that in Treffinger'south model (Treffinger, 1995), training is called understanding. The goal hither is for the private to search for information regarding the trouble at hand. Also, Runco (1997) mentions a stage of information. Here, the inquiry phase could help visual art students to differentiate their own work from previous ones (Bruford, 2015). In the interviews with professional artists (Botella et al., 2013), this search stage was coupled with reflection, as a search for means (i.e., material or technological) to transform the initial idea into a real production.

Table v. Correspondence between the stages retained in the present study and the existing stages in research field.

Inspiration corresponds to intuition and metacognition (Cropley, 1999). Among other things, it allows us to place which approach volition exist more efficient than another. Policastro (1995) defines intuition as an implicit form of data processing, which is intended to anticipate and guide creative inquiry. Co-ordinate to her, intuition may allow an unconscious shift from incubation to illumination. However, intuition was never considered a stage in the creative procedure or in the artistic process. Therefore, it is a stage that is specific to the current study. Every bit described by 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 art students consider inspiration as a phase of their creative process. Then, a replication of this study will be necessary to ostend if it is really a stage or if it is a factor involved in the creative process. The word "illumination" was non mentioned by the students as such. Numerous authors have previously shown that the illumination stage was seldom mentioned by students in art. Doyle (1998) has described illumination as an accident, where the solution emerges in a sudden and unexpected way (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 most cases, be more gradual than sudden (Ghiselin, 1952; Gruber and Davis, 1988; Weisberg, 1988). Although it is possible that illumination is not a part of all artistic processes, or that the creators might non always exist conscious of it, the stage of illumination remains a key stage in the creative process, because it is at this stage that the idea takes shape.

The trials, tests, and fiddling made past students may stand for to the phase of idea evolution in Mace and Ward's model (Mace and Ward, 2002). In their description of the artistic process, Mace and Ward argue that, during the evolution of an thought, the artist will structure, consummate, and restructure the thought. Authors indicate that this trial stage will let artists to form a more precise idea of the initial projection for themselves. This stage is worked in Art school with sketchpads.

Associates corresponds to the microprocess of divergent thinking, in which ideas are assembled and mixed together. In contrast, convergent thinking makes it possible to focus on a single idea (Guilford, 1950). This mode of thinking allows individuals to find the one and only solution to a problem. The generation of ideas that have not yet 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 it possible to focus the attention of the individual on those solutions deemed to be adequate, and to reject other solutions. No model emphasizes the stage of choosing a technique. Withal, the artist must identify the technique that will allow them to make 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 soapbox and 17.86% named it directly, we decided to consider "technique" as a specific stage of the visual artistic creative process. In further studies, it will be interesting to explore if this stage is specific to visual arts or if it is a more than common stage apropos other artistic domains.

Specification might correspond to elaboration. Berger et al. (1957) divers elaboration as the private's ability to provide detail to the ideas produced. This stage may also tie in with artistic explanation, whose goal is for the artist to explicate the ideas (Shaw, 1989, 1994).

Realization refers to the artistic production (Treffinger, 1995) or to artistic synthesis (Shaw, 1989, 1994). The goal here is to brand the thought concrete. "Technique" is by and large included in this stage. However, it seems that production points to the deed of creating and to the gestures involved rather than to the cognitive or emotional choice of a technique. Mace and Ward (2002) speak also of realization, i.e., the transformation of an idea into a "physical entity." They notation that for some physical arts and for a wide diverseness of artistic media it is necessary to have a detailed thought of what the artist is going to practice. Hence, some decisions—such as, for example, those related to the choice of a technique—should exist anticipated.

Finalization corresponds, at least in part, to the finition phase in Mace and Ward (2002). The authors argue that finalization implies that the individual has decided that his/her work is finished. If the artist considers the piece of work to be successful and satisfactory and they may choose to showroom information technology. In that example, the stage of finalization likewise includes hanging upwardly or exhibiting the work.

The stage of judgement of the creative production is very often named in models of the creative process. In particular, Wallas (1926) writes most verification, where the individual assesses the idea that has emerged. At this stage, one must take a step back from one'due south work and assess it. Verification may be of ii kinds: "internal" verification, i.e., a comparison between the idea that has been produced and the idea formed during illumination or "internal" verification, which consists of anticipating the reactions of the audition (Armbruster, 1989). According to Busse and Mansfield (1980), verification may take identify earlier during the process, as the individual first verifies the ideas and then elaborates a solution. Other authors have argued that judgment occurs at a afterwards stage. For example, Osborn (1953/1963) considers that evaluation is the moment when the individual evaluates the chosen thought. When describing the artistic process, Osborn (1953/1963) mentions the stage of analysis, in which the individual takes a step back to examine the connections that grade between ideas and their importance. In contrast, Shaw (1989, 1994) addresses the concept of validation, thus emphasizing the importance of this stage. According to him, personal validation consists of affectionate one's own work and in using the experience acquired over the course of this process to generate a new creative process. In addition to personal validation, there exists a commonage level of validation. The latter deals with the evaluation of a artistic production by peers, by an audition or by a critic. Collective validation can merely lead to a new process if in that location is credence of the evaluation that has been formulated. If the production is validated, information technology can and then exist followed past a series in which the thought 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 creative process; its goal is to nowadays the work to teachers. In the case of professional artists, this would refer more than to the sale of a work. However, recent models included a communication stage (Runco, 1997; Howard et al., 2008; Cropley and Cropley, 2012).

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

Conclusion

Although this written report was limited by the interview method—and thus focused on students' implicit theories of their own creative process—it allowed us to identify multiple stages in the process of visual artistic 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 also ambitious to sympathize the sequence of the stages from interviews. The present written report invites united states of america to rethink what composes an artistic creative procedure. Even if we already accept a long listing of models, none is consummate and satisfactory. It is possible that we may need to construct and maintain a listing of all the stages of the creative procedure which can then be adapted to each domain, given that the artistic process may vary depending upon the area in question (Baer, 1998, 2010; Botella and Lubart, 2015). Given this doubt, connected research into the artistic process is indicated. For at present, the nowadays list of stages of the visual artistic creative process could help teachers in their coursework. During the interviews, students indicated that the stages of research and the utilise of the diary notebook were required by their art school. This appears as a limitation of the present study. We are non sure if art students described the prescriptive stages in their Art schoolhouse or their existent stages of creation. The question was oriented how their artistic process generally takes place but because they are art students and they were interviewed in their fine 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 newspaper. With the updated listing, teachers could propose other exercises to guide art students for all the stages. Moreover, outside an educational context, the demand for consultancy to stimulate business inventiveness is increasing (see Berman and Korsten, 2010), and the current research may also provide a helpful template for the effective management of creative processes in this area of industrial innovation. However, we have to be careful most the employ of such a list. By conceptualizing the creative process, are we really at risk of creating a "compatible" prescriptive model of how to be artistic? We can hypothesize that some artistic procedure are more adapted to some creative individuals merely it would exist counterproductive to try to forcefulness all individuals to engage in the aforementioned process. The creative process varies across fields (Botella and Lubart, 2015) and probably also beyond 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 piece of work—notably to determine the exact succession of the stages—using a tool like the CRD. Moreover, it will be interesting to detect the collaborative creative process as well equally to situate the process in a more global socio-cultural approach. As nosotros saw in the introduction, the creative process can be described using micro-level or macro-level approaches and more globally takes place in a particular socio-cultural context. These approaches could be used directly during observations of the creative process and associated with cognitive, conative, emotional, and environmental factors involved in the process.

Ethics Statement

All subjects gave written informed consent in accordance with the Declaration of Helsinki.

Author Contributions

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

Disharmonize of Interest Argument

The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed every bit a potential conflict of interest.

References

Amabile, T. One thousand. (1988). A model of creativity and innovation in organizations. Res. Organ. Behav. 10, 123–167.

Google Scholar

Amabile, T. M. (1996). Creativity in Context. Boulder, CO: Westview Press.

Google Scholar

Arlin, P. K. (1986). "Trouble finding and young developed cognition," in Developed Cerebral Evolution: Methods and Models, eds R. A. Mines and K. South Kitchener (New York, NY: Praeger), 22–32.

Google Scholar

Armbruster, B. B. (1989). "Metacognition in creativity," in Handbook of Creativity, eds E. P. Torrance, J. A. Glover, R. R. Ronning, and C. R Reynolds (New York, NY: Plenum), 177–182. doi: 10.1007/978-1-4757-5356-1_10

CrossRef Full Text | Google Scholar

Baer, J. (2010). "Is creativity domain specific?," in The Cambridge Handbook of Creativity, eds J. C. Kaufman and R. J Sternberg (Cambridge: Cambridge University Press), 321–341. doi: 10.1017/CBO9780511763205.021

CrossRef Total Text | Google Scholar

Basadur, M., and Gelade, Chiliad. A. (2005). Modelling practical creativity equally a cognitive process: theoretical foundations. Kor. J. Think. Prob. Solving fifteen, 13–41.

Google Scholar

Berger, R. Grand., Guilford, J. P., and Christensen, P. R. (1957). A factor-analytic report of planning abilities. Psychol. Monogr. 71, 1–29. doi: 10.1037/h0093704

CrossRef Total Text | Google Scholar

Berman, S., and Korsten, P. (2010). Capitalizing on Complexity: Insights from the Global Master Executive Officer Study. Somers, NY: IBM.

Google Scholar

Blunt, J. (1966). The Composite Art of Acting. New York, NY: Macmillan.

Google Scholar

Botella, M., Glaveanu, 5. P., Zenasni, F., Storme, M., Myszkowski, N., Wolff, M., et al. (2013). How artists create: creative process and multivariate factors. Acquire. Individ. Diff. 26, 161–170. doi: 10.1016/j.lindif.2013.02.008

CrossRef Full Text | Google Scholar

Botella, M., and Lubart, T. (2015). "Artistic processes: art, design and science," in Multidisciplinary Contributions to the Science of Creative Thinking, eds One thousand. E. Corazza and Southward Agnoli (Singapour: Springer), 53–65.

Google Scholar

Botella, M., Nelson, J., and Zenasni, F. (2016). "Les macro et micro processus créatifs [The macro and micro creative processes]," in Créativité et apprentissage [Creativity and learning], ed I Capron-Puozzo (Louvain-la-Neuve: De Boeck), 33–46.

Google Scholar

Botella, M., Nelson, J., and Zenasni, F. (2017). It is time to find the artistic process: how to utilize a creative process Report Diary (CRD). J. Creat. Behav. doi: 10.1002/jocb.172

CrossRef Full Text | Google Scholar

Botella, G., Zenasni, F., and Lubart, T. I. (2011). A dynamic and ecological approach to the artistic creative process in arts students: an empirical contribution. Empir. Stud. Arts 29, 17–38. doi: x.2190/EM.29.i.b

CrossRef Full Text | Google Scholar

Bruford, Due west. (2015). Making it Work: Creative Music Operation and the Western Kit Drummer, Unpublished dissertation, University of Surrey.

Google Scholar

Burnard, P. (2012). Musical Creativities in Do. Oxford: Oxford Academy Press. doi: 10.1093/acprof:oso/9780199583942.001.0001

CrossRef Full Text | Google Scholar

Busse, T. V., and Mansfield, R. S. (1980). Theories of the creative procedure: a review and a perspective. J. Creat. Behav. 14, 91–132. doi: 10.1002/j.2162-6057.1980.tb00232.x

CrossRef Full Text | Google Scholar

Carson, D. K. (1999). "Counseling," in Encyclopedia of Creativity, Vol. 1, eds M. A. Runco and South. R Pritzker (New York, NY: Academic Printing), 395–402.

Google Scholar

Cropley, A. J. (1999). "Definitions of inventiveness," in Encyclopedia of Inventiveness, Vol. i, eds M. A. Runco and S. R Pritzker (New York, NY: Academic Press), 511–524.

Google Scholar

Cropley, D. H., and Cropley, A. J. (2012). A psychological taxonomy of organizational innovation: resolving the paradoxes. Creat. Res. J. 24, 29–40. doi: 10.1080/10400419.2012.649234

CrossRef Full Text | Google Scholar

Dewey, J. (1934). Art as Experience. New York, NY: Penguin Books.

Google Scholar

Doyle, C. 50. (1998). The writer tells: the creative process in the writing of literacy fiction. Creat. Res. J. 11, 29–37. doi: 10.1207/s15326934crj1101_4

CrossRef Full Text | Google Scholar

Dreistadt, R. (1969). The use of analogies and incubation in obtaining insights in creative problem solving. J. Psychol. 71, 159–175. doi: 10.1080/00223980.1969.10543082

CrossRef Total Text | Google Scholar

Fürst, G., Ghisletta, P., and Lubart, T. (2012). The artistic process in visual art: a longitudinal multivariate study. Creat. Res. J. 24, 283–295. doi: x.1080/10400419.2012.729999

CrossRef Full Text | Google Scholar

Getzels, J. Due west., and Csikszentmihalyi, M. (1976). "Concern for discovery in the artistic process," in The Creativity Question, eds A. Rothenberg and C. R Hausman (Durham, NC: Knuckles University Printing), 161–165.

Google Scholar

Ghiselin, B. (1952). The Creative Process. Berkeley, CA: Academy of California Printing.

Google Scholar

Glǎveanu, V. P. (2010). Paradigms in the study of inventiveness: introducing the perspective of cultural psychology. New Ideas Psychol. 28, 79–93. doi: ten.1016/j.newideapsych.2009.07.007

CrossRef Full Text | Google Scholar

Glaveanu, V. P., Lubart, T., Bonnardel, Due north., Botella, Thou., De Biasi, P.-M., De Sainte Catherine, Chiliad., et al. (2013). Creativity as activeness: findings from five creative domains. Front. Educ. Psychol. 4:176. doi: 10.3389/fpsyg.2013.00176

PubMed Abstract | CrossRef Full Text | Google Scholar

Gruber, H. E. (1989). "The evolving systems approach to creative work," in Creative People at Work: Twelve Cognitive Case Studies, eds D. B. Wallace and H. E Gruber (New York, NY: Oxford University Press), iii–24.

Google Scholar

Gruber, H. Eastward., and Davis, S. Northward. (1988). "Inching our mode up Mount Olympus: the evolving systems approach to creative thinking," in The Nature of Creativity, ed R. J Sternberg (New York, NY: Cambridge University Press), 243–270.

Google Scholar

Howard, T. J., Culley, S. J., and Dekoninck, Eastward. (2008). Describing the creative pattern procedure by the integration of engineering design and cognitive psychology literature. Des. Stud. 29, 160–180. doi: 10.1016/j.destud.2008.01.001

CrossRef Full Text | Google Scholar

Kilgour, M. (2006). Improving the creative process: analysis of the effects of divergent thinking techniques and domain specific knowledge on creativity. Int. J. Business Soc. 7, 79–107.

Google Scholar

Kozbelt, A., Beghetto, R. A., and Runco, One thousand. A. (2010). "Theories of creativity," in The Cambridge Handbook of Creativity, Vol. 2, eds J. C. Kaufman and R. J Sternberg (New York, NY: Cambridge University Press), 20–47.

Google Scholar

Lubart, T. I. (2001). Models of the creative procedure: past, present and time to come. Creat. Res. J. 13, 295–308.

Google Scholar

Lubart, T. I., Mouchiroud, C., Tordjman, S., and Zenasni, F. (2015). Psychologie de la Créativité (Deuxième Edition) [Psychology of Creativity]. Paris: Armand Colin.

Google Scholar

Mace, M.-A., and Ward, T. (2002). Modeling the creative process: a grounded theory analysis of creativity in the domain of art making. Creat. Res. J. fourteen, 179–192. doi: ten.1207/S15326934CRJ1402_5

CrossRef Full Text | Google Scholar

Mumford, Grand. D., Reiter-Palmon, R., and Redmond, M. R. (1994). "Trouble construction and cognition: applying problem representations in ill-defined domains," in Problem Finding, Problem Solving, and Creativity, ed 1000. A Runco (Norwood, NJ: Ablex), 3–39.

Google Scholar

Nemiro, J. (1997). Interpretative artists: a qualitative exploration of artistic process of actors. Creat. Res. J. 10, 229–239.

Google Scholar

Nemiro, J. (1999). "Acting," in Encyclopaedia of Creativity, Vol. 1, eds M. A. Runco and S. R Pritzker (New York, NY: Bookish Press), 1–8.

Google Scholar

Osborn, A. F (1953/1963). Applied Imagination, 3rd Edn . New York, NY: Scribners.

Google Scholar

Patrick, C. (1935). Creative thought in poets. Arch. Psychol. 178, 1–74.

Google Scholar

Peilloux, A., and Botella, M. (2016). Ecological and dynamical written report of the creative process and affects of scientific students working in groups. Creat. Res. J. 28, 165–170. doi: 10.1080/10400419.2016.1162549

CrossRef Full Text | Google Scholar

Runco, 1000. A. (1997). The Creativity Research Handbook. Cresskill, NJ: Hampton Press.

Google Scholar

Runco, M. A., and Dow, G. (1999). "Problem finding," in Encyclopedia of Creativity, Vol. 2, eds M. A. Runco and S. R Pritzker (New York, NY: Bookish Printing), 433–435.

Google Scholar

Russ, S. W. (1993). Bear on and Inventiveness: The Function of Impact and Play in the Artistic Process. Hillsdale, NJ: Lawrence Erlbaum Associates Inc.

Google Scholar

Sadler-Smith, E. (2016). Wallas' four-phase model of the artistic process : more than meets the middle ? Creat. Res. J. 27, 342–352. doi: ten.1080/10400419.2015.1087277

CrossRef Full Text | Google Scholar

Schlewitt-Haynes, L. D., Earthman, Grand. Southward., and Burns, B. (2002). Seeing the world differently: an assay of descriptions of visual experiences provided past visual artists and nonartists. Creat. Res. J. 14, 361–372. doi: x.1207/S15326934CRJ1434_7

CrossRef Full Text | Google Scholar

Shaw, M. P. (1989). The eureka process: a construction for the creative experience in science and engineering. Creat. Res. J. 2, 286–298. doi: 10.1080/10400418909534325

CrossRef Full Text | Google Scholar

Shaw, One thousand. P. (1994). "Affective components of scientific creativity," in Creativity and Affect, eds Chiliad. P. Shaw and Thou. A Runco (Westport: Ablex Publishing), 3–43.

Google Scholar

Stanko-Kaczmarek, M. (2012). The effect of intrinsic motivation on the touch and evaluation of the creative process among fine arts students. Creat. Res. J. 24, 304–310. doi: ten.1080/10400419.2012.730003

CrossRef Full Text | Google Scholar

Treffinger, D. J. (1995). Artistic problem solving: overview and educational implications. Educ. Psychol. Rev. 7, 301–312. doi: 10.1007/BF02213375

CrossRef Full Text | Google Scholar

Wallas, G. (1926). The Art of Thought. New York, NY: Harcourt, Caryatid and Company.

Google Scholar

Weisberg, R. W. (1988). "Problem solving and creativity," in The Nature of Creativity: Gimmicky Psychological Perspectives, ed R. J Sternberg (Cambridge: Cambridge University Press), 148–176.

Google Scholar

Yokochi, S., and Okada, T. (2005). Artistic cerebral procedure of art making: a field study of a traditional Chinese ink painter. Creat. Res. J. 17, 241–255.

Google Scholar

castlepuffined.blogspot.com

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