Creativity
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5 Steps in the Creative Process Model
by Flora Richards-Gustafson, Demand Media Google
Individual experiences and talents help foster creativity
Creativity does not just happen. It is a cognitive process that produces new ideas or transforms old ideas into updated concepts, according to Brussels Free University psychology professor Liane Gabora. Scientists such as Jacques Hadamard and Henri Poincaré studied the creative process and contributed to the Creative Process Model, which explains how an individual can form seemingly random thoughts into an ideal combination or solution, according to the website The Information Philosopher.
During the preparation step of the creative process model, an individual becomes curious after encountering a problem. Examples of problems can include an artistic challenge or an assignment to write a paper. During this stage, she may perform research, creates goals, organize thoughts and brainstorm as different ideas formulate. For example, a marketing professional may prepare for a marketing campaign by conducting market research and formulating different advertisement ideas.
While the individual begins to process her ideas, she begins to synthesize them using her imagination and begins to construct a creation. Gabora states that during this step, the individual does not actively try a find a solution, but continues to mull over the idea in the back of her head.
As ideas begin to mature, the individual has an epiphany regarding how to piece her thoughts together in a manner that makes sense. The moment of illumination can happen unexpectedly. For example, an individual with the task of putting together an office party may have an idea for a theme while driving home from work.
After a solution reveals itself in an epiphany, the individual then evaluates whether the insight is worth the pursuit.
He may make changes to his solution so it is clearer.
He may consult with peers or supervisors regarding his insights during this step before pursuing it further.
If he works with clients, he may seek a client’s input and approval before moving on to the next step.
The implementation of an idea or solution in the creative process model is when an individual begins the process of transforming her thoughts into a final product.
For example, during this step, a painter may begin outlining shapes on a canvas with charcoal before applying oil paints to the medium.
According to Gabora, an individual may begin this step more than once in order to reach the desired outcome.
For example, a graphic designer may open a new digital canvas if he did not have the scale calculated correctly on a previous work, and he will continue to implement his ideas and make adjustments until he reaches a pleasing final product.
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4 Stages of the Creative Process:
Start with a question to answer or a problem to solve.
(Examples: designing a logo, writing a story, motivating employees.)
1 Preparation
Research: Collect information or data.
2 Incubation
Percolation: Milling over collected information.
3 Illumination
Light Bulb Idea: Aha moment.
4 Implementation
Actual Making, creating: Verification.
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The 6 Steps of the Creative Process
By Cara Murphy, eHow Contributor
There are several different models that represent the creative process.
In 1926, Graham Wallas created a model containing four steps:
Preparation
Incubation
Illumination
Verification.
While most models share the similar premise that the creative process takes place over a number of steps, not all agree on how many steps it takes, exactly.
The Creative Problem Solving Model, developed by Parnes (1992), Isaksen and Trefflinger (1985), proposes the creative process occurs through six steps; the Creative Problem Solving Model is widely taught.
Objective Finding
Objective finding, also known as "mess finding," asks the problem solver and creative thinker to identify a goal, wish or challenge he would like to tackle. For example, an unemployed person might list his goal as finding a job.
Fact Finding
This step takes investigation and research; step two includes gathering facts, and even recording information like feelings or emotions associated with the objective. A woman looking to publish her novel might investigate her niche market, including publishers and editors who might be interested in her book, while making herself aware of her emotions attached to the process, such as fear she won't be published.
Problem Finding
The investigator works to clarify the problem in this step, including pinpointing the real concerns or questions he needs to address. For example, someone failing college might have the objective of raising his grades. To do this, he must focus on the real problem, which may be his lack of study time because of a job and family obligations.
Idea Finding
This step asks you to brainstorm ideas and solutions to help resolve or accomplish the objective. Listing all possible solutions, however unlikely, can help develop other ideas. For example, a single mother who has the objective of working from home might create a list of all the possible jobs she can apply for; hours she can work; people who can help her with her resume, applications, and job search, and even childcare options for when she is called in for interviews.
Solution Finding
Revising the possible solutions helps strengthen them. The investigator chooses the best solutions and then works to make them more applicable to the objective. A man who decides to apply for a loan for his small business venture might rework the solution to include applying for grant money as well.
Acceptance Finding
This step includes developing a plan of action. With a solution in place, the investigator now creates a list of all the action steps necessary in order to accomplish the objective. For example, a woman who wants to improve the relationships in her life makes a list of specific things she can do each day to strengthen friendships, keep in touch with distant relatives, and spend quality time with her loved ones.
Read more : http://www.ehow.com/info_12026395_six-steps-creative-process.html
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The Creative Problem Solving (CPS) Model
Objective finding
Fact finding
Problem finding
Idea finding
Solution finding
Acceptance finding
Steps 3 and 4 (problem and idea finding) clearly require novel, creative thinking; while steps 1, 2, 5, and 6 require traditional skills and analytical thinking.
Koberg and Bagnall (1981) propose a similar balanced model in their popular book The Universal Traveler.
Koberg and Bagnall's Universal Traveler Model
Accept the situation (as a challenge)
Analyze (to discover the "world of the problem")
Ideate (to generate options)
Select (to choose among options)
Implement (to give physical form to the idea)
Evaluate (to review and plan again)
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A Model for Creative Strategic Planning
Analysis
standard planning
insight development
Creativity
creative leaps
strategic connections
Judgment
concept building
critical judgment
Planning
action planning
creative contingency planning
Action
flexible implementation
monitoring results
Notice the positive role of judgment in this model and the need for applying specific creative skills in insight development, creative leaps, and creative contingency planning.
Finally, it is important to note that not all models place the generation of new concepts in the mind as the "meat" of the sandwich between slices of analytical thinking bread. Consider Fritz' (1991) model, for example.
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Robert Fritz' Process for Creation
Conception
Vision
Current reality
Take action
Adjust, learn, evaluate, adjust
Building momentum
Completion
Living with your creation
Fritz identifies the beginning of the process as the creative acts of conception and vision. This is followed by analysis of current reality, action, evaluation, public scrutiny (building momentum), and completion. Fritz also firmly asserts that the creative process is cyclical in nature.
Living with your creation" means purposeful noticing and analysis that leads to the next creative conception and vision.
Clearly, these modern models of the process of creative thinking are complex scripts for higher-order thinking. Regardless of the specific model we chose, we are called to engage in an intricate mental dance over an extended period of time. The complexity implied by this balancing act is probably the reason why creative ideas are so rare.
Even though we all possess the underlying mental building blocks for creative thinking, stacking the blocks just right is very difficult work!
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Common Themes Behind the Models of the Creative Process
While there are many models for the process of creative thinking, it is not difficult to see the consistent themes that span them all.
The creative process involves
purposeful analysis
imaginative idea generation
critical evaluation
-- the total creative process is a balance of imagination and analysis.
Older models tend to imply that creative ideas result from subconscious processes, largely outside the control of the thinker.
Modern models tend to imply purposeful generation of new ideas, under the direct control of the thinker.
The total creative process requires a drive to action and the implementation of ideas.
We must do more than simply imagine new things, we must work to make them concrete realities.
These insights from a review of the many models of creative thinking should be encouraging to us.
Serious business people often have strong skills in
practical
scientific
concrete
analytical thinking.
Contrary to popular belief, the modern theory of creativity does not require that we discard these skills. What we do need to do, however, is to supplement these with some new thinking skills to support the generation of novel insights and ideas. These insights from the historical models of creative thinking are meant to challenge and encourage.
As serious business people, we have strong skills in practical, scientific, concrete, and analytical thinking that will serve us well as we engage the creative process. Contrary to popular belief, the modern theory of creativity does not require that we discard these skills. What we do need to do, however, is to acquire some new thinking skills to support the generation of novel insights and ideas. Importantly, we also need to acquire the mental scripts to balance and direct these new thinking skills in concert with our traditional ones. If we can meet this challenge, we stand well-equipped to help lead our organizations to competitive advantage through innovation.
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The Directed Creativity Cycle:
A Synthesis Model of the
Creative Process
The Directed Creativity Cycle is a synthesis model of creative thinking that combines the concepts behind the various models proposed over the last 80+ years.
The Directed Creativity Cycle
Let's walk through it, beginning at the 9:00 position on the circle.
We live everyday in the same world as everyone else, but creative thinking begins with careful observation of that world coupled with thoughtful analysis of how things work and fail. These mental processes create a store of concepts in our memories. Using this store, we generate novel ideas to meet specific needs by actively searching for associations among concepts.
There are many specific techniques that we can use to make these association; for example, analogies, branching out from a given concept, using a random word, classic brainstorming, and so on. The choice of technique is not so important; making the effort to actively search for associations is what is key.
Seeking the balance between satisficing and premature judgment, we harvest and further enhance our ideas before we subject them to a final, practical evaluation. But, it is not enough just to have creative thoughts; ideas have no value until we put in the work to implement them.
Every new idea that is put into practice changes the world we live in, which re-starts the cycle of observation and analysis.
Directed creativity simply means that we make purposeful mental movements to avoid the pitfalls associated with our cognitive mechanisms at each step of this process of searching for novel and useful ideas.
For purposes of explanation, we can further divide this model into four phases. We will use these four phases of Preparation, Imagination, Development, and Action to organize the tools of directed creativity in other working papers.
Note that this model continues in the tradition of others in asserting that creativity is a balance of imagination and analysis. The model also purposefully avoids taking a stand on the controversy of whether imagination is a conscious or subconscious mental ability. While I personally believe that imagination is a conscious, non-magical mental action, the activity of "generation" in the model welcomes creative ideas regardless of their source. Finally, notice that this model clearly supports the notion that innovation is a step beyond the simple generation of creative ideas. The Action phase of the model makes it clear that creative ideas have value only when they are implemented in the real world.
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7 steps
Gather the information
Sift it
Let it percolate
Let the ideas flow
Shape and mold the ideas
Share them with others
Put the feedback into the loop; and repeat the process to strengthen your ideas.
References
Arieti, S (1976) Creativity: The Magical Synthesis. New York: Basic Books. (Back)
Barron, F (1988) "Putting creativity to work." in Sternberg, RJ (ed.) The Nature of Creativity. Cambridge, England: Cambridge Univ. Press. (Back)
Bandrowski, JF (1985) Creative Planning Throughout the Organization. New York: American Management Association. (Back)
Campbell, DT (1960) "Blind variation and selective retention in creative thought as in other knowledge processes." Psychological Review, Vol. 67, pgs. 380-400. (Back)
Fritz, R (1991) Creating. New York: Fawcett. (Back)
Gardner, H (1994) Creating Minds. New York: Basic Books. (Back)
Ghiselin, B, ed. (1952) The Creative Process. Berkeley, CA: University of California Press. (Back)
Isaksen, SG and Trefflinger, DJ (1985) Creative Problem Solving: The Basic Course. Buffalo, NY: Bearly Publishing. (Back)
Koberg, D and Bagnall, J (1981) The All New Universal Traveler: A Soft-Systems Guide To Creativity, Problem-Solving, And The Process Of Reaching Goals. Los Altos, CA: William Kaufmann, Inc. (Back)
Osborn, A (1953) Applied Imagination. New York: Charles Scribner. (Back)
Parnes, SJ (1992) Sourcebook for Creative Problem Solving. Buffalo, NY: Creative Education Foundation Press. (Back)
Perkins, DN (1981) The Mind's Best Work. Cambridge, MA: Harvard University Press. (Back)
Rossman, J (1931) The Psychology of the Inventor. Washington DC: Inventor's Publishing. (Back)
Simonton, DK (1988) "Creativity, leadership, and chance," in Sternberg, RJ (ed) The Nature of Creativity. Cambridge, England: Cambridge Univ. Press. (Back)
Torrance, EP (1988) "The Nature Of Creativity As Manifest In Its Testing," in Sternberg, RJ (ed) The Nature of Creativity. Cambridge, England: Cambridge Univ. Press. (Back)
Vinacke, WE (1953) The Psychology of Thinking. New York: McGraw Hill. (Back)
Wallace, DB and Gruber, HE (1989) Creative People at Work. New York: Oxford University Press. (Back)
Wallas, G (1926) The Art of Thought. New York: Harcourt Brace. (Back)
Weisberg, RW (1993) Creativity: Beyond the Myth of Genius. New York: W.H. Freeman. (Back)
Wertheimer, M (1945) Productive Thinking. New York: Harper. (Back)
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Stages of the Design Process
By Carol Reeves, eHow Contributor
There are five stages in the design process that every designer or architect follows. It is a natural progression that helps take you from the beginning of the design to final built completion of the project, whether it is an house or an art piece. While design can be very artistic and free flowing, the design process can be seen as very scientific. It allows for checks and balances at each stage of the design process so that you know when you are drifting in a different direction.
Schematic Design
The first stage is called schematic design. This is when the ideas are laid out and the potential problem that needs to be solved with the design is set forth. An architect will use this stage to get an understanding of the client's needs and wants and try to really understand what it is they are looking for in their design. It is at this stage that an architect will use such tools as an adjacency matrix and a bubble diagram to help understand the potential design requirements while putting together the criteria that are required.
Design Development
The second stage is design development. This is when the design is starting to take shape and the spaces are understood and recognized. This is also when an architect will start picking out the materials and the structural system that will be used in the design. The style and direction of the design will start to be developed at this stage.
Construction Documents
The third stage is construction documents. This is when the details of how to build the project are put together in a concise and thorough set of plans. A set of construction documents consists of the drawings and a set of specifications such as electrical diagrams. They are kept together so that a contractor has all the information needed to build the project.
Bidding and Negotiations
The fourth stage is the bidding and negotiations stage. This is when the construction documents have been approved and an owner gets estimates, or bids, from potential contractors.
Construction Administration
The last and final stage is construction administration. This is when the project is being built and the architect is in charge of interpreting and clarifying the drawings for the contractor. Many times this is the most time-consuming aspect of the process, because many different variables come into play when putting a project together. Sometimes materials that were available 6 months ago during the construction documents stage are no longer available during the construction administration stage, so substitutions have to be found, approved and ordered.
Read more : http://www.ehow.com/facts_5161796_stages-design-process.html
