Edward Prince Furniture Design - Creativity - The creative person

 

Creativity - The Creative Person

Is a person involved in the arts or design different from other professions? Physically no but creative people tend to have personality, learning styles and character traits that are different to that of an accountant or engineer. The process of design uses thinking styles from all parts of the brain from the intuitive to analytical. Designers also display distinctive personality traits and a particular view on life in order to access their creativity.

Carl Jung developed a framework to help people understand themselves and become more effective. He identified two types of attitude; extrovert and introvert and four mental functions for taking in and processing information;.

 

Sensation	Uses the body and senses to know.
Intuition	Knowing without knowing how you know.
Thinking	Conclusions formed through logic and objective reasoning.
Feeling	Decisions based upon subjective, personal, cultural and organizational values.

 

These two attitudes and four functions form a framework recognised now as the Myers-Briggs Type Indicator (MBTI). This indicates preferences for using the talents in a certain order and the interactions between talents influencing perspectives, assumptions and approaches to creative solutions and the results produced. Myers and McCaulley, state that "preferences are like handedness; one uses both hands, but reaches first with the preferred hand which is probably more adept". The MBTI indicates distinct cognitive preferences for people in design related industries. The most frequently found personality types in the arts are;

 

1. INFP	Introversion	Intuition	Feeling	Perception
2. INFJ	Introversion	Intuition	Feeling	Judging
3. ENFP	Extroversion	Intuition	Feeling	Perception
4. ENFJ	Extroversion	Intuition	Feeling	Judging

 

These results indicate designers overwhelmingly preferring intuition as a way of perceiving their world. McKinnon (1978). states "A preference for the perceptive attitude results in a life that is more open to experience both from within and from without, and is characterised by flexibility and spontaneity". Intuition measured in this test places 100% of architects as being intuitive in contrast to 25% of the general population.

Designers display above average ability in certain facets of Gardner's theory of 'multiple intelligence'. Gardner (1983) identifies seven different forms of intelligence: Linguistic, musical, logical, mathematical, spatial, bodily kinesthetic, intrapersonal and interpersonal. Recent developments include the addition of naturalist, spiritual and psychic intelligence. Designers display greater ability in spatial intelligence, the capacity to perceive the world accurately and recreate the visual experience. Spatial intelligence is not tied to the visual sense it is the ability to discern differences across a wide range of domains including abstract and analytical abilities.

The Right Brain
The education system places very little value upon the un-quantifiable traits a designer uses as the principal source of their inspiration. As creative individuals we have managed to escape an education system that has deprived us access to many qualities of the right brain. Education systems are designed to cultivate the verbal, rational, time based left hemisphere, resulting in half of the brain of every student being ignored. A US study found only 1.7% of the total academic curriculum to be involved with divergent skills. Edwards (1987).

Right brain characteristics (the characteristics required for much spatial intelligence) are undesirable in a structured curriculum. The right hemisphere does not control logical propositions or sequencing, starting wherever it wants, working holistically, with poor time sense and naming skills. It is unlikely that imagination, visualisation, perception, spatial skills, creativity, intuitiveness and inventiveness will be emphasised in mainstream education, resulting in loosing access to the qualities of the right brain. Fortunately, for some these skills are developed, but our culture is so strongly weighted towards rewarding left-brain skills that we loose a large proportion of our potential abilities. The creative designer needs to relearn how to use their right brain skills in order to approach design with the necessary logical left brain and intuitive right brain processing that creativity requires.

The wide range of thinking languages that are available also need to be practiced in order to aid the means by which information and operations represent themselves in the conscious. Verbal and written language is the most common (left brain), other languages include non-verbal languages like mathematical, musical, sensory, emotive and visual. Education systems and the individual who develops these sensory skills will have several advantages over those who only use single thinking languages;

• Sensory and imaginative abilities can be vitalised rather than atrophy.
• Vehicles are provided that are more appropriate to the thinkers needs than language.
• Education in sensory thinking encourages flexibility in thinking levels.
• Thinking by sensory imagery encourages the thinker to utilise operations that are not within the realms of language. McKim (1980)

Thinkers who know when to stop thinking consciously, relax and let the subconscious take over demonstrate flexibility. Productive thinkers are also alert to recognise ideas that emerge from the unconscious.

McKim (1986) proposes three conditions that will foster thinking that is productive and creative:

• Challenge. This requires a situation in which change is desired
• Information. This must be correct, adequate and accessible for processing to be productive
• Flexibility. This can be achieved in three ways. Firstly, access to the conscious as well as subconscious levels of thinking. Secondly, proficiency in a verity of mental operations and the ability to move freely from one to the other. Finally, utilisation of several vehicles of thought and be able to transfer between them.

Good conceptualisation and creative actions of all kinds are enhanced considerably by fantasy; reflection and mental playfulness, Roger van Oech (1997) asked his clients, "During what kind of activities and situations do you get your ideas?" the replies fell into two categories. The smaller group represented replies such as: "When faced with a problem, when things break of need fixing, when the deadline is near". The larger group represented replies such as: "When I am playing around, when I am doing something, and after my second beer". He draws the conclusion that if necessity is that mother of invention then play is certainly the father.

When defenses are down, mental blocks are loose, concern with the rules is minimal and the mind is allowed to move freely towards creative ideas. Creative people move between their childlike and mature character traits. The qualities of the child's lack of concern with rules are desirable for stimulating creative action. If we are daydreaming or playing, the assumption is, we are being unproductive, the opposite is often the case.

Individuals must believe they are creative. Shell Oil in Rotterdam, Holland, employed a team of psychologists to establish the qualities that made some people creative and others uncreative. Their conclusion was that the creative people thought they were creative and the uncreative believed they were uncreative. The words of thought and resultant action overlap, what you think has a way of becoming true a theory practiced by exponents of Neuro linguistic programming and other methods of personal development.

A person who believes that ideas are worthy and worth building on, look for more than one answer, explores ideas in other fields, tolerates ambiguity and has a more playful attitude to ideas will have a far more creative view of life. The development of self belief through the use of creative affirmations like "My creativity is unlimited" is one good way to start to foster a belief in personal creative potential.