Which of the Following Statements Is Untrue Art Appreciation

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

The creative process is defined as a succession of thoughts and actions leading to original and appropriate productions (Lubart, 2001; Lubart et al., 2015). The creative process may be described at ii 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 set of mechanisms that can be involved in the artistic process, work focusing on macroprocesses have not achieved consensus regarding the nature or the number of stages involved in the artistic procedure. Tabular array 1 shows some of the different models that tin exist establish in the scientific literature, with overlaps or divisions between some stages of the models. In this newspaper, we treat micro-processes every bit contents of a more global, macro-level process, which make it possible to draw the structure of a work of art from the showtime (i.due east., the wish to create) to the stop (exhibiting that work). Moreover, the process tin be examined in a psychological and private or in a socio-cultural perspective (Glǎveanu, 2010; Burnard, 2012). In the present study situated in the visual art field, we will consider the artistic creative process as an individual phenomenon.

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

Art is often considered to be an archetypal domain of inventiveness research (Schlewitt-Haynes et al., 2002; Stanko-Kaczmarek, 2012), complimented by research on scientific, musical, design-oriented, and literary creativity (Glaveanu et al., 2013). Fifty-fifty if some overlap can 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 artistic procedure and artistic process to examine what the artistic artistic procedure could be. Patently, this section cannot be exhaustive only offers a beginning consideration of the numerous important stages of the artistic artistic procedure.

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

So, in that location is preparation, the offset stage described in the early macroprocess model past Wallas (1926). Carson (1999) explained that, in this stage, the private defines the trouble (or understands information technology; Treffinger, 1995) and gathers information in order to solve it. Based on a series of interviews with novelists, Doyle (1998) argued that the creative process begins with an incident, when an individual discovers an idea. In the artistic 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 besides on a series of interviews with professional artists, Botella et al. (2013) identified half dozen stages in the creative process in art, starting by an idea or a "vision" in which an prototype, a sight, a audio resonates with the creative person.

Earlier the second main stage described by Wallas (1926), some authors added complementary stages subsequently grooming. Based on a previous review of the literature, Botella et al. (2011) propose a stage of concentration ("I am concentrating on the work I take to practise") in which it is possible to focus the creator's attention on those solutions deemed to be adequate, and to pass up the other solutions (Carson, 1999). Osborn (1953/1963) added assay, when the creator takes a step back to identify the relations betwixt ideas and the importance of each idea; and ideation, when the private develops alternative ideas. Busse and Mansfield (1980) indicated also a stage requiring making an endeavor in order to solve the trouble.

Then, co-ordinate 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 fourth dimension of solitude and relaxation, where idea associations take place at a hidden 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-railroad train" in a fringe conscious level, betwixt conscious and unconscious levels (p. 346). Cropley and Cropley (2012) revisited too Wallas'due south work and split the stage of incubation into activation and generation. The process once again becomes conscious in the stage of ideation, with the generation of further ideas, which are non necessarily judged or assessed. The individual and so experiences an illumination or insight (Eureka!) with the emergence of an idea, an image or a solution (Wallas, 1926; Carson, 1999). Boden (2004) noted that illumination or insight needs previous thought-processes.

Thought generation can have 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 stage involving the transformation of these constraints or adaptation of the constraints that are not suitable. For Doyle (1998), in that location is some form of navigation betwixt various knowledge domains, which makes it possible to assess the relevance of this thought. Based on Dewey (1934), Bruford (2015) proposed a selection stage in which the creator choses one choice amid several, requiring agency and control abilities. In the field of art, Mace and Ward (2002) named this footstep thought 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 assemble more than data most the materials and technologies required in social club to plow their vision into reality. The last 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 product (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 four-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 idea product, leading to action past planning. This work corresponds to the development and implementation of ideas through a search for solutions (evaluation, selection, and redefinition), and and then the credence of this solution (promoting an idea, looking for its strengths and drawbacks). This final phase makes it possible to materialize the ideas that take been found and to solve the trouble. In this vein, in the field of fine 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) also added stages of planning ("I am planning my work"), and product ("I am producing/composing my ideas"). Results of observations in the art field suggested that the production phase is comprised, in fact, of two stages: a stage that consists of searching for ideas through the creative gesture (sketches, drafts, mock-ups), so a stage consisting of the realization of an thought that is already constructed (transposing an idea to a concrete medium). The initial stage of "production" describes a similar activeness, but the underlying cerebral micro-processes are unlike. 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 society to implement an thought that already exists. In a study consisting of interviews of professional artists, Botella et al. (2013) confirmed the stages of starting time sketches to give a material grade to the initial project, testing the forms and ideas that originated from reflection and preliminary work, and provisional objects, "drafts" and almost-finished products. Revisiting Wallas' model, Cropley and Cropley (2012) mentioned a stage of advice, 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 individual assesses the chosen idea. For Mace and Ward (2002), the terminal step of the creative process, called finalization, brings the creative work to decision (or validation according to Botella et al., 2011; Cropley and Cropley, 2012). The artist reassesses the production and may choose to stop, to elaborate, abandon, filibuster, shop, or destroy information technology. If the artist believes the mission that was gear up has been accomplished, the artist may cull to showroom the production. Recently, professional artists suggested to add one more stage with series, transforming a commencement 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 own experience and pragmatic empirical observations. Patrick (1935, 1937) supported Wallas proposal past collecting empirical information in terms of observations and verbal reports of poets and artists who were invited to do a specific creative chore. Almost of the "phase models" are then 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 possibly be considered as a specific arroyo 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 again that researchers practise non agree on the number of stages: Cropley and Cropley (2012) found seven stages whereas Sadler-Smith (2016) found five stages based on Wallas' volume.

Objectives

Models of the artistic process and of the artistic process do not agree on the nature or on the number of steps involved in a creative creative process (see 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 past Osborn (1953/1963) who believed that creation is set up off by "stop-and-go" or "grab what y'all can"-type processes; (b) models of a creative process are constructed based on a specific artistic population and a specific artistic domain, though these are described equally if they were generic and could utilise to all domains whether fine art, science, music, writing, or design. The process is most often described in general terms, as if it should utilize to all creative domains, whether it is art, science, music, writing, or design; (c) descriptions of the creative process do non ever take into business relationship the definition of creativity, in detail the contextually rich, situated nature that originality, and appropriateness may have; and (d) the methodologies used were different [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 study is to question directly some stakeholders of artistic creativity, namely visual fine art students. Nevertheless, it is perchance too ambitious to ask them to draw completely their creative process. We suggest that the lack of consensus in the previous studies could be due to the desire to capture all aspects of the creative process in the same report. And so, the students interviewed here describe simply what constitutes, for them, the stages of their process of artistic creativity. We enquire them specifically to list the stages of their process in guild to be as exhaustive equally possible. This qualitative study makes it possible to place what stages the students consider relevant in their mental representation of the visual artistic artistic process, rather than relying on stages extracted from the scientific literature on creativity. With this report, nosotros volition not able to accept a macro vision of the unabridged artistic creative process merely we will construct an inventory of the stages involved to picture show this procedure.

Given the descriptive nature of the present research on the creative creative process, the findings can be integrated in further work every bit a office of the Creative process Study 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, assuasive ecological validity. Information technology is possible to realize various versions of the CRD depending on the context, the creative field, and whatever other considerations. The CRD has two parts: a office list the stages of the creative procedure (which will be equally exhaustive equally possible based on the present study) and a part listing factors such equally cognitive, conative, emotional, and environmental ones that may come into the creative procedure (for example, nosotros could appraise team work; Peilloux and Botella, 2016). Finally, the CRD allows the artistic process to exist modeled for individuals in situ during all the time needed for their creation. Thus, the purpose of CRD will exist to observe the link and the transitions between the stages of the creative creative procedure and to examine which factors volition be involved at each stage. Yet, to practice that, we need, in the present study, to list equally exhaustively as possible all the stages of the visual artistic creative process which volition let a specific CRD to exist created to observe the process in further 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 11 were male (mean age = 20.9 years old, sd = 1.7, bridge = 19–24 years old). The rational for the choice 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, usually the story of an artwork but sometimes the reports were distanced from their own story and therefore from their ain creative process.

Interview Guide

The goal of the report was to construct a list of the stages of the process of visual creative creativity. Given this, the interview guide was purposely kept curt and open, and consisted of simply 2 questions: (one) "how does your creative procedure generally have identify?" and (2) "how would you lot name the stages that you lot have just mentioned?"

The interviewer's follow-up questions immune the students to depict some other stage of their artistic process. The main prompts consisted of reformulating the final sentence provided by the participant and request "When you did […], what do y'all do next?" or "Can you depict more precisely what y'all do when yous finish […]?" It was very important to not induce ideas with our questions and so, we just reformulated the words used by the visual art students themselves to help them list the stages of their artistic creative process.

Interviews were semi-structured and lasted x min on average. Obviously, the interviews were also brusque to capture all the complication of the creative creative process with its "stop-and-go" or "grab what you can" aspects (Osborn, 1953/1963). All the same, to make an inventory of the stages it was enough. 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 non required co-ordinate to our institution's guidelines and national regulations. Later on the participants provided informed consent, the volunteer students were interviewed in their fine art school, during their course on creativity. This state of affairs fabricated it easier for them to retrieve the stages of their visual artistic creative procedure. Participants were led to a split up room to take role in a one-on-one give-and-take with the interviewer. The interviewer (and then, the analyst) was the showtime author, with cognition on the literature about creativity and creative 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 use of certain terms.

Results

Given our objective was to inventory the stages of the artistic 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 to the lowest degree three times. The name retained for the category was the most cited term; others citations were used to depict the category. In the showtime office of the analysis, we focus on the stages of the process of visual artistic creativity that emerged spontaneously from the participants' discourse. Hence, we will deal with the responses to the beginning question in the interview guide. In the 2nd part, we volition examine the stages named by the students. Finally, we will confront these two analyses, in lodge to cheque whether the stages named by the participants practise indeed correspond to those referenced in the soapbox. It is expected that the names will exist 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 Procedure From the Students' Open Discourse

Based on the students' responses to the first question in the interview guide, all the terms cited at least three times were listed. Information technology should exist noted that the software can already grouping some terms according to the context: for example, "impossible" and "non possible" are considered every bit similar. The software can too identify co-occurrences of combined terms, such as "applied fine art." Then, terms were grouped past the analyst according to the context in which they appeared (meet Table 2). The context helped usa to identify the terms apropos the creative procedure. When terms seem to correspond to the same idea, they were grouped together, such as "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 accelerate and the grouping was stopped when nosotros considered that another assemblage was not relevant. Terms that did not refer to the artistic process were not retained ("year," "fine art," "stage," "have an inclination toward," "social environment," etc.).

Table two. 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 budgeted the discipline affair, taking possession of it, gaining knowledge virtually the subject-related words used (S14: "So, you become at that place, you lot throw yourself"). Reflection refers to the students' efforts for deciphering and understanding the topic. This stage may imply visualized images (S1: "I remember, I go things directly for a week"). The stage of research involves the student going to the library in society to collect references to artists and to prior work (S4: "I am looking for references to see what has been washed. There is a fourth dimension of documentation"). And so the educatee constructs a knowledge base of works which have already been produced, earlier distancing themselves from these works. Inspiration is based on one's impression and experience of a given discipline matter (S24: "it'due south really how I feel it and I know I'll be able to continue on it"). Although the term illumination was non used, nosotros tin note the presence of this stage in students' reports of "an idea all of a sudden appearing" or "coming across an thought by accident" (S6: "It's non totally conscious. It comes like this. Ideas come alone. We experience it. And subsequently that, we attempt from that to bring this idea in a frame that could be appropriate"). Trials stand for to producing notebooks containing sketches. Students tape their sketches, and brand attempts before they tin can detect an idea (S27: "I try to explore every bit many things as possible"). Organization consists of students ordering, guiding, and organizing their approach past mixing existing ideas and combining them together (S25: "There is an order to exist defined"). The student will accept to select an idea out of all those produced (S25: "I will select what is best"). A piece of work involves inevitably i or more than techniques (S18: "Whether reckoner, photoshop or drawing, rush. Actually, exploit everything I know every bit technical before you go to a final thingy"). Depending on individual preferences and on the constraints of the situation, the pupil will choose to use a particular technique. The product of the creative process is made concrete during the phase of realization (S9: "I go directly to the realization with the materials. I accept 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 piece of work (S15: "I am improving what I have already drawn. Above all, I simplify. Because 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 piece of work that has been produced (S27: "More often than not, I have to cease in advance so I can look at it for a long fourth dimension and so see if something is missing or non. Because sometimes, I have the impression that information technology is non finished at all and, by dint of looking at it, finally I realize that it 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 thought. In the latter case, the student throws abroad one idea and starts something new, or starts once again based on an existing work (S3: "If information technology'due south not practiced, I do non leave, I showtime once more. It happens to me often when I'm done and it's ugly, that I know information technology'south not practiced, I don't care, I spend some other viii hours, 10 hours to rework another volume. In full general, when I resume it's still the same theme, just it's non the aforementioned idea").

Identifying the Stages of the Process Named by Students

This analysis focused on the 2nd question in the interview guide, i.eastward., how the students named the stages in their visual artistic creative process. Terms were grouped in Table 3. From there, we were able to place 16 stages in the process of visual artistic inventiveness.

Table iii. Categories used in naming the stages of the artistic 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 form of brainstorming where the student attempts to understand, to decipher the topic and to reflect upon information technology. Enquiry 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 existence found and actualization of their own accordance. Trials designate all the try-outs, notes, sketches, notes, and testing made by the students. Assembly refers both to attempting a new approach and to the unlike ideas that sally from assembling ideas together. The stage of new ideas includes unlike ideas which sally. The stage of selection involves choosing an idea. Materials were also mentioned in terms of photography and volume. The phase of realization refers to activity, composition, concretization, production, and to the transfer of an idea to a medium. The stage of specification can be viewed as increasing the depth of analysis, developing the piece of work, and correcting it. Finalization is the completion of the work. The stage of test indicates taking a footstep back from the work, formulating an analysis of the work, and questioning one'southward ain work. Presentation refers to the fact that students must justify, explain, and nowadays their piece of work. The fact that students let the work settle, digest 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 artistic inventiveness when students ask for aid because they are stuck or when they need reference.

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

This confrontation allowed united states of america 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 (see Table iv). Fourteen stages announced both in the gratis discourse and the stages named by the students, one phase was mentioned but in the discourse, and two stages were mentioned when naming the stages of the process. In the stop, 17 unlike stages were retained. But the phase referring to teacher was not retained considering the teacher corresponds more to a social support than a stage of the process. Additionally, the teacher can be partially included in the stage of research equally a source of noesis.

Table iv. Confrontation between the two analyses.

In the phase of immersion, the goal is to apprehend the topic at hand and to mind to the instructions given by the teacher. Some students may sometimes experience the need to define the words and concepts nowadays in the topic (S1: "What I do personally, I take the words and I have a few days or fifty-fifty a week depending on the fourth dimension of the project to go things directly, think about it because sometimes there are topics that are very vague like that and we sympathize not at all. And so it gets more and more precise."). Such an approach allows them to "soak upwards" the topic and jump into the fray and showtime themselves off (S18: "The thing is, I often tend to get into an idea. When you give me a discipline or what. I guess right now the thing and what I could do with it."). Reflection makes it possible to empathise what should be washed, and to decipher the instructor'due south requirements. Mental work may sometimes brainstorm with visualizing an paradigm. This image may guide the student throughout the process (S20: "Me, I cannot offset looking for a give-and-take if I do not visualize the final "what." Even if I will redo afterwards…"). During the stage of research the students acquire to search for artists, references, documents, and work already produced about the topic that they are apprehending. A solid cognition base of operations and a culture regarding prior work might help create new and original ideas (S15: "The teachers give usa research. Because when nosotros come here, we exercise not necessarily have a civilization in terms of graphics, anyway. They requite u.s. references to go see. This is considering, often, it is sometimes references of choreographers and it goes a fiddling beyond the field of visual arts and graphics. And all of a sudden, it allows to compare universes. And then we meliorate what nosotros practise."). Inspiration occurs when an thought emerges slowly and gradually. According to the students, it is based on instinct, impressions, and feelings (S14: "Sometimes y'all experience that you take a lot of data and from that, you can offset 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 across an idea," and "hey, in that location's an idea!," where the idea sometimes comes from an unknown place (S5: "Sometimes it comes alone."; S21: "I did not look. It roughshod on me in fact. And then subsequently, you take to bounciness back."). The use of notebooks assemble the students' trials, their sketches and their notes. They allow the students to try out and exam an paradigm. More importantly, the teachers examine the notebooks to follow the evolution of the students' work. Notebooks show students' train of thought, how they accomplished a detail work (S2: "These ideas, I always 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, information technology corresponds to the direction which the educatee wishes to give to the production and future work (S3: "I try to mix everything together"). The phase of ideation was non mentioned in the discourse. Information technology was merely mentioned when students were naming the stages. Selection refers to classifying and sorting ideas. The goal here is to choose which ideas can be exploited, and which, on the other hand, should exist ready aside (S24: "It'southward hard to choose, on which track to get"). Technique is a very important aspect for aspiring artists. They must comply with codes, rules, observe a typography, a fashion of their own. Although this stage was rarely named as such by the students, it is very nowadays in their soapbox (S27: "I put in some technique. For example, I had been taught a little nigh the technique of collage, I had exploited this thing after because I liked it. I tried to distort it from school in my ain style."). Realization refers to translating an idea into an paradigm. It is at this signal that the limerick and production of a material piece of work take shape (S18: "I endeavor 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 point, students add details that they had non necessarily planned initially (S23: "When I have something that I like, I dig it even more to run across if I can exploit it"). Finalization refers to the signal at which the student decides that the piece of work is washed. The piece of work is complete, or almost at the signal of completion (S17: "It'due south never finished. For renderings, at that place is a fixed date and in that location it is finished. But but for a grade. But in general, nosotros e'er have stuff to add, photos to resume, stuff to put back. Generally, we exercise it if we have a jury at the stop of the yr. And hither, we endeavour to finalize the project of the beginning of the year."). The term judgment was not explicitly mentioned either. However, information technology can be institute in the terms of taking a footstep back, questioning one'south work, observing it with great attention, and thus assessing it (S3: "I look at [my work]. I call back instead of teachers. If I was a instructor, if I look at, if there is something wrong, if at that place is a stain, if I see that there is something wrong, if it is not good, well cut, I'll beginning all over again."). Although this stage was not directly mentioned in the students' soapbox, the stage of the break likewise seems to exist. Its goal is to let the ideas rest, digest, settle and "breathe." The discourse suggests also the presence of trial and error. Because the word "failure" seems a picayune strong, we retain the term of "abandoning," whose connotations are less negative (S3: "Sometimes I alter my idea and sometimes, when I piece of work, it's not possible like that").

Discussion

The goals of this written report were to make up one's mind the nature and number of stages present in the creative visual artistic process in gild to build a specific CRD. 20-eight fine art students were asked to draw their process of visual artistic creativity and to proper 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. Information technology corresponds to preparation in Wallas' (1926) model (run into Table five for a synthesis). Wallas views grooming as a preliminary analysis which makes it possible to define and set the problem. The same idea is present in Carson'south (1999) consulting-centric model and in the work on the creative process of actors (Edgeless, 1966; Nemiro, 1997, 1999). Osborn (1953/1963) speaks instead of orientation, in which the individual identifies the problem that is to be solved. Shaw (1989, 1994) proposes also the term "immersion." Reflection is typically included in grooming. Osborn proposes a stage when the individual takes a pace 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 phase of research is required by the school of fine art (S8: "We take a lot of instructions from the teachers who help the states. We must go through research."). Research is also by and large included in training. It should be noted that in Treffinger's model (Treffinger, 1995), training is called understanding. The goal here is for the individual to search for information regarding the trouble at manus. Also, Runco (1997) mentions a stage of information. Here, the research phase could assistance 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.east., material or technological) to transform the initial idea into a real production.

Table 5. Correspondence betwixt the stages retained in the nowadays study and the existing stages in inquiry field.

Inspiration corresponds to intuition and metacognition (Cropley, 1999). Amongst other things, it allows usa to place which approach will be more than efficient than another. Policastro (1995) defines intuition as an implicit class of information processing, which is intended to anticipate and guide creative inquiry. Co-ordinate to her, intuition may allow an unconscious shift from incubation to illumination. Notwithstanding, intuition was never considered a phase in the creative process or in the creative process. Therefore, it is a phase that is specific to the electric current study. As described by the students, the inspiration stage is shut to the stage on intimation added between incubation and insight (Sadler-Smith, 2016). Information technology is surprising and interesting that visual art students consider inspiration as a phase of their artistic 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 discussion "illumination" was non mentioned past the students as such. Numerous authors have previously shown that the illumination stage was seldom mentioned by students in fine art. Doyle (1998) has described illumination equally 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 mode. Other authors believe that this experience of illumination would, in near cases, exist more gradual than sudden (Ghiselin, 1952; Gruber and Davis, 1988; Weisberg, 1988). Although information technology is possible that illumination is non a function of all creative processes, or that the creators might non e'er exist conscious of it, the phase of illumination remains a key phase in the artistic process, because it is at this phase that the idea takes shape.

The trials, tests, and fiddling made by students may correspond to the stage of thought development in Mace and Ward's model (Mace and Ward, 2002). In their description of the artistic process, Mace and Ward argue that, during the development of an idea, the creative person volition structure, complete, and restructure the idea. Authors point that this trial phase will allow artists to grade a more precise thought of the initial project for themselves. This stage is worked in Art school with sketchpads.

Assembly 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.

Pick refers to concentration (Carson, 1999). Concentration makes it possible to focus the attention of the private on those solutions accounted to be acceptable, and to reject other solutions. No model emphasizes the stage of choosing a technique. Nonetheless, 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 nowadays study, because 71.43% of the students mentioned this stage in their discourse and 17.86% named it straight, we decided to consider "technique" as a specific stage of the visual creative creative process. In further studies, it volition be interesting to explore if this phase is specific to visual arts or if it is a more mutual phase concerning other creative domains.

Specification might correspond to elaboration. Berger et al. (1957) divers elaboration as the individual's power to provide detail to the ideas produced. This stage may also tie in with creative caption, 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 physical. "Technique" is generally included in this stage. However, it seems that production points to the human activity of creating and to the gestures involved rather than to the cerebral or emotional choice of a technique. Mace and Ward (2002) speak also of realization, i.east., the transformation of an idea into a "physical entity." They note that for some physical arts and for a wide multifariousness of creative media it is necessary to have a detailed idea of what the creative person is going to do. Hence, some decisions—such as, for example, those related to the choice of a technique—should be anticipated.

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

The stage of sentence of the creative production is very often named in models of the creative process. In detail, Wallas (1926) writes about verification, where the private assesses the idea that has emerged. At this phase, i must take a stride back from one's work and assess information technology. Verification may exist of two kinds: "internal" verification, i.e., a comparison between the thought that has been produced and the idea 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 accept place earlier during the procedure, as the private first verifies the ideas and then elaborates a solution. Other authors have argued that judgment occurs at a after stage. For example, Osborn (1953/1963) considers that evaluation is the moment when the individual evaluates the chosen idea. When describing the creative procedure, Osborn (1953/1963) mentions the phase of assay, in which the private takes a step dorsum to examine the connections that course 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 appreciating one's ain work and in using the experience acquired over the class of this process to generate a new creative process. In add-on to personal validation, in that location exists a collective level of validation. The latter deals with the evaluation of a creative production by peers, by an audience or by a critic. Collective validation can only lead to a new process if in that location is credence of the evaluation that has been formulated. If the production is validated, it tin can so exist followed by a series in which the thought is extended to several works (Botella et al., 2013).

The stage of presentation is non typically described as such in models of the creative process or of the artistic process; its goal is to present the work to teachers. In the case of professional artists, this would refer more 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 "pause" which has emerged in the stages named past students might correspond to incubation. As we have seen, this stage is very difficult to assess 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 about letting their ideas rest, letting them digest and decant. Incubation is always difficult to evaluate, because it relies in virtually cases on unconscious work. Finally, although the stage of withdrawal is a subject of enquiry, it is not included in virtually models of the creative procedure. Only Mace and Ward (2002) take into account a clear possibility of abandoning the process at whatsoever time. Even if the procedure is brutally interrupted, the creative person develops continuously new cognition. This cognition 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 can emerge in this work, to exist reused later.

Conclusion

Although this report was limited past the interview method—and thus focused on students' implicit theories of their own creative process—it allowed united states to identify multiple stages in the process of visual creative creativity. Because 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 ambitious to sympathize the sequence of the stages from interviews. The present written report invites united states to rethink what composes an creative artistic process. Even if we already have a long list of models, none is complete and satisfactory. It is possible that we may demand to construct and maintain a list of all the stages of the creative process which tin and then be adapted to each domain, given that the creative process may vary depending upon the area in question (Baer, 1998, 2010; Botella and Lubart, 2015). Given this uncertainty, connected research into the artistic procedure is indicated. For now, the present list of stages of the visual artistic creative procedure could help teachers in their coursework. During the interviews, students indicated that the stages of research and the use of the diary notebook were required by their art school. This appears as a limitation of the nowadays study. We are non sure if art students described the prescriptive stages in their Art school or their real stages of creation. The question was oriented how their creative process generally takes place but considering they are art students and they were interviewed in their art school, 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, outside an educational context, the need for consultancy to stimulate business creativity is increasing (run into Berman and Korsten, 2010), and the current research may also provide a helpful template for the effective management of creative processes in this surface area of industrial innovation. However, we accept to exist careful near the use of such a list. By conceptualizing the creative process, are we actually at risk of creating a "uniform" prescriptive model of how to be creative? Nosotros can hypothesize that some creative process are more adapted to some artistic individuals merely it would exist counterproductive to effort to force all individuals to engage in the same process. The creative process varies across fields (Botella and Lubart, 2015) and probably too across culture, creators' personalities, and tasks.

These stages and more precisely their sequence should be validated in the field, past observing students as they carry out creative work—notably to determine the exact succession of the stages—using a tool similar the CRD. Moreover, it will exist interesting to observe the collaborative artistic process likewise as to situate the process in a more global socio-cultural approach. As nosotros saw in the introduction, the artistic 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 direct during observations of the artistic process and associated with cognitive, conative, emotional, and environmental factors involved in the process.

Ethics Statement

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

Author Contributions

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

Conflict of Involvement Argument

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

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