Educational Intervention and the Development of Young Art Students' Talent and Creativity

This study focuses on behavior associated with young art students' developing artistic talent (skills and art‐making behavior) and creativity (personal expressions of visual information). The study examines the role of personal expertise in a student's development of problem finding, domain‐specific technical skill, perseverance, evaluation, and creative ideation. The study compares 30 experienced art students' artistic processing and products with those of 29 novice art students. Both groups are 7‐ through 11‐year‐olds. The author recorded participants' behavior as they created drawings in two contexts — from imagination and from life — and three adult artists then assessed the technical skill and creativity revealed in the drawings. Multivariate analyses of the variables associated with the drawing products and processes offer evidence of the changes related to the students' developing expertise in both novice and experienced groups. This study finds that the drawing situation (life or imagination) interacts clearly with the relationships among hypothesized components of creativity, gender, and predictors of expertise. Technical skill, perseverance, modifications, and creativity in drawings from life were significant predictors of expertise. Modifications, efficient problem finding, and creativity in drawings from imagination were additional significant predictors of expertise. Gender was found to be a measurable factor in both the artistic process and the assessments of drawings from imagination. The findings are discussed within the context of three conceptions: artistic talent, developing creativity, and art education.     

The impact of meaning and dimensionality on the accuracy of children's copying

Studies of intellectual realism have shown that children aged 7 to 9 copy a line drawing of a cube less accurately than a non‐object pattern composed of the same lines ( Phillips, Hobbs, & Pratt, 1978 ). However, it remains unclear whether performance is worse on the cube because it is a three‐dimensional representation, or because it is a meaningful object, or both. The accuracy with which twenty 7‐year‐old and twenty 9‐year‐old children reproduced 16 line drawings of two‐dimensional and three‐dimensional objects and non‐objects was assessed. Older children copied all types of drawing more accurately than younger participants, and children of all ages copied two‐dimensional drawings more accurately than three‐dimensional. Meaningfulness interacted with dimensionality for ratings of drawing accuracy, assisting the copying of two‐dimensional drawings, but having no impact on the copying of three‐dimensional drawings. For an objective measure based on position, length, and orientation of line, meaningfulness interacted with age group, being beneficial for 7‐ but not 9‐year‐olds. Overall, the results imply that, contrary to previous suggestions, meaningfulness can actually be beneficial to copying.     

On the relationship between children's perspective taking in complex scenes and their spatial drawing ability

Depicting space and volume in drawings is challenging for young children in particular. It has been assumed that several cognitive skills may contribute to children's drawing. In the present study, we investigated the relationship between perspective‐taking skills in complex scenes and the spatial characteristics in drawings of 5‐ to 9‐year‐olds (N= 121). Perspective taking was assessed by two tasks: (a) a visual task similar to the three‐mountains task, in which the children had to select a three‐dimensional model that showed the view on a scene from particular perspective and (b) a spatial construction task, in which children had to plastically reconstruct a three‐dimensional scene as it would appear from a new point of view. In the drawing task, the children were asked to depict a three‐dimensional scene exactly as it looked like from their own point of view. Several spatial features in the drawings were coded. The results suggested that children's spatial drawing and their perspective‐taking skills were related. The axes system and the spatial relations between objects in the drawings in particular were predicted, beyond age, by certain measures of the two perspective‐taking tasks. The results are discussed in the light of particular demands that might underlay both perspective taking and spatial drawing.     

The development of children's expressive drawing

Two studies are presented on expressive happy and sad drawings made by British 4‐ to 12‐year‐olds (n = 80 and 160, respectively) in which the drawings were assessed individually for the quantity and quality of expressive devices. Quantity was measured in the number of appropriate expressive content themes and formal properties evident in each drawing. Quality was rated on a Likert scale on the extent to which the drawing expressed the intended mood. Both the quantity and quality of expressive happy and sad drawings of predetermined and free topics increased with age. Improvements in content expression, but much less so with expressive formal properties, accounted for the development of quantity. A slower period of development between 6 and 9 years for both measures was consistently found, with a significant improvement often shown among the 12‐year‐olds. The finding that happy drawings were scored higher than sad drawings is explained in respect of adult and child expectations of pictures. Correlations between expressive scores and performance on a visual realism drawing task tentatively indicated that expressive and realism skills in drawing are only weakly related. The development of expressive drawing is considered in the context of the delivery of art education in schools.     

The Roles of Emotional Comprehension and Representational Drawing Skill in Children's Expressive Drawing

The purpose of the present study was to investigate the roles of emotional comprehension and representational drawing skill in children's expressive drawing. Fifty 7‐ to 10‐year‐olds were asked to produce two (happy and sad) expressive drawings, two representational drawings (drawing of a man running and drawing of a house) and to answer the Test of Emotion Comprehension (Pons & Harris, 2000). The expressive drawings were assessed on the number of expressive subject matter themes (‘content expression’) and the overall quality of expression on a 5‐point scale. Each of the representational drawings was measured on a scale assessing detail and visual realism criteria, and contributed to a single representational drawing skill score. In line with our predictions, we found that both emotional comprehension and representational drawing skill accounted for a significant variance in children's expressive drawings. We explain that children's developing emotional comprehension may allow them to consider more detailed and poignant expressive ideas for their drawings and that their developing representational drawing skill facilitates the graphic execution of these emotional ideas. Copyright © 2014 John Wiley & Sons, Ltd.     

Another reason why adults find it hard to draw accurately

Misperception of objects is a major cause of inaccuracies in adults' drawing. It has previously been established that participants' drawings are biased by their knowledge of the drawn object. We hypothesised that additional inaccuracy arises because drawings are biased towards participants' idiosyncratic canonical representations of the object. We report that participants' free drawings of a cylinder are correlated with their observational drawings of the same shape, providing evidence that people's observational drawings are distorted by their individual schematic representations of the objects in question. It is unclear whether this reflects a perceptual distortion or a bias in drawing production; in either case, this result provides a further explanation why people are poor at drawing from observation.     

Knowing how to look predicts the ability to draw realistically

Some young children are able to create stunningly realistic drawings resembling those of adult artists. What perceptual abilities underlie this talent? This study examined two candidate skills on which adult artists excel: the ability to segment a complex form mentally (measured by the Block Design Task) and the ability to see hidden forms (measured by the Group Embedded Figures Test). Sixty‐seven 6‐ to 13‐year‐olds with a wide range of drawing abilities completed these tasks as well as an IQ test and an observational drawing task. While children who scored high on drawing realism outperformed those who scored low in drawing realism on both perceptual tasks, only detection of embedded figures predicted drawing realism. This occurred independently of age, gender, years of training, and verbal and non‐verbal IQ. There are certainly many contributors to this complex ability, but one component appears to be the tendency to see things more as they really are and thereby recognize the continuous contour of an object despite interference from other overlapping objects.     

Innovation Motivation and Artistic Creativity

Innovation motivation is a social learning model of originality comprising two variables: the need to be different and innovation expectancy. This study examined their contribution to artistic creativity in a sample of undergraduates. Participants completed measures of both innovation motivation variables as well as intelligence, adjustment, and artistic training. Participants completed three drawings using colored pencils: a human artifact, a non‐human life form, and a person. Choice of main subject and details were tabulated for each drawing and originality scores were derived based on the infrequency of each thematic element. The drawings were also evaluated for technical proficiency and creativity by two master's level art therapists. The need to be different and innovation expectancy each predicted the originality of each drawing; together, they predicted 42% of the variance in the composite originality score. The need to be different and innovation expectancy also predicted proficiency and creativity ratings, especially the latter. The other variables yielded weaker, less consistent predictions. In general, both innovation motivation variables still predicted significant proportions of the variance in originality scores and creativity ratings even after controlling for other variables.     

A Multilevel Analysis of the Relationship between Shared Leadership and Creativity in Inter‐Organizational Teams

An inter‐organizational team, which consists of diverse members from different organizations to conduct an initiative, has been widely treated as a critical method to improve organizational innovation. This study proposes a multilevel model to test the relationship between shared leadership and creativity at both team‐ and individual level in the context of inter‐organizational teams. Multisource data were collected from 53 inter‐organizational teams. We obtain the following findings: first, shared leadership is positively related to both team creativity and individual creativity via knowledge sharing. Second, task interdependence positively moderates the relationship between shared leadership and knowledge sharing. Third, task interdependence positively moderates the relationship between knowledge sharing and team creativity, but does not moderate the relationship between knowledge sharing and individual creativity. We discuss the theoretical and practical implications of the findings.     

Leader Creativity as a Predictor of Leading Change in Organizations1

This investigation examined leader creativity, broadly conceptualized as a confluence of personal attributes, as a predictor of leading change in organizations. Because organizational change occurs primarily in the social system in support of the technical system, the role of social‐emotional competency was also examined. Two correlational studies were conducted in samples of U.S. Army officers. As predicted, leader creativity was a significant predictor of leading change. Creativity measures explained 42% of the variance in leading change performance measures in novice officers and 71% of the variance in early‐ to mid‐career officers. Social‐emotional competency was also a significant predictor of leading change, but less than creativity. “The art of the creative leader is the art of institution‐building, the reworking of human and technological materials to fashion an organization that embodies new and enduring values” ( Selznick, 1957 , pp. 152–153).     

A Study of Young Artists: The Development of Artistic Talent and Creativity

ABSTRACT: This study explored the development of talent and creativity in a population of 60 children (kindergarten through 5th grade) enrolled in a private art-enrichment program. The population of highly motivated and highly reinforced children offered an opportunity to explore the relations among the following hypothesized components of creativity: motivation, knowledge, problem finding, ideation, evaluation, age, and context. The children were videotaped while they created solutions to 2 artistic and 3 puzzle-like activities; the observed behavior provided scores on problem finding, evaluation, and ideation. In addition, 3 artists scored the 2 drawing tasks on knowledge and ideation. Age was correlated significantly with knowledge in both drawing situations, but the relations between age and problem finding, ideation, and evaluation depended on the variable used, the problem situation, or both. In one drawing situation, controlling for technical expertise resulted in a curvilinear relation between novelty and age. The pattern of relationships among the components also differed with the drawing situation. The context, or problem situation, also interacted with the contributions of age, evaluation, and problem finding in the prediction of novelty. Multiple linear regressions of assessments of knowledge and ideation on the assessed novelty of both drawings revealed the significance of expressivity and composition in predicting novelty. The findings are discussed within the context of a developmental theory.     

A Multilevel Model of Team Cultural Diversity and Creativity: The Role of Climate for Inclusion

We developed a multi‐level model to test how team cultural diversity may relate to team‐ and individual‐level creativity, integrating team diversity research and information‐exchange perspective. We proposed that the team climate for inclusion would moderate both the relationship between cultural diversity and team information sharing and between cultural diversity and employee information elaboration. We collected time‐lagged data from 384 members and their leaders within 57 multicultural work teams. The results showed that team cultural diversity was positively related to both team creativity and individual creativity through team information sharing and employee information elaboration, respectively. We also found that the indirect positive relationship with team creativity and individual creativity was stronger for team cultural diversity when climate for inclusion of multicultural work teams was stronger.     

Orientation-specific effects in picture matching and naming

In two experiments, subjects made timed decisions about the second of two sequentially presented rotated drawings of objects. When the two objects were physically identical, response times to decide whether the two drawings depicted the same object varied as a function of the shortest distance between the orientation of the second drawing and either the orientation of the previous drawing or the upright. This was found for both short (250-msec) and long (2-sec) interstimulus-intervals. The result was also obtained when subjects named the second drawing after deciding whether the first drawing faced left or right. Following repeated experience with the drawings in the left/right task over four blocks of trials, time to name the second drawing in the same-object sequences was independent of orientation. These results suggest that, initially, object- and orientation-specific representations can be formed following a single presentation of a rotated object and subsequently used to identify drawings of the same object at either the same or different orientations. Alignment of the second drawing with either the canonical representation or the new representation at the previous orientation is achieved by normalization through the shortest path. Following experience with the objects, orientation-invariant representations are formed.     

Imitation,Inspiration, and Creation: Cognitive Process of Creative Drawing by Copying Others' Artworks

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: (a) copying an artist's drawing, then producing an original drawing; (b) producing an original drawing without having seen another's work; and (c) copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork.     

Linking Individual Creativity to Organizational Innovation

We draw on 146 employee‐co‐worker‐supervisor triads from 146 organizations to examine the role of individual perspective‐taking and team creative environment in the association between individual creativity and organizational innovation. Adopting an interactionist perspective, we find that the link between individual creativity and organizational innovation is most clearly strengthened when individual perspective‐taking and team creative environment are both high. Neither individual perspective‐taking nor team creative environment alone moderated the relationship between creativity and innovation.     

How do friendship maintenance behaviors and problem‐solving styles function at the individual and dyadic levels?

Friendship maintenance behaviors and problem‐solving styles are both important for relationship satisfaction and commitment. However, the association between maintenance and problem‐solving styles is unclear. Furthermore, it has not been determined if maintenance and problem‐solving styles are individual‐ or dyadic‐level behaviors. One hundred forty‐eight friendship dyads completed measures of friendship maintenance, problem solving, and satisfaction/commitment. Utilizing the pairwise latent variable model (G. Griffin & R. Gonzalez, 1995), this research found that although there were both individual‐ and dyadic‐level components, maintenance behaviors occurred primarily at the dyadic level, but problem‐solving styles tended to be more of an individual‐level behavior. Maintenance behaviors were positively correlated with the problem‐solving styles of voice and loyalty but were negatively correlated with neglect and exit. Furthermore, friendship maintenance behaviors predicted dyadic‐level satisfaction/commitment. However, problem‐solving behaviors predicted individual‐level satisfaction/commitment. The results are discussed in terms of implications for the friendship maintenance and problem‐solving literature.     

The Multidimensional Scaling Of A Set Of Artistic Drawings : Perceived Structure And Scale Correlates

Product-centered research on creativity approaches the criterion problem of what is to be the referent for creativity through the analysis of tangible products such as a r t objects, writing, or scientific achievements. The present research is concerned with the evaluation and study of artist drawings contributed by sophomore students a t the Rhode Island School of Design. Multi-dimensional scaling methods were applied to similarity judgments obtained from art experts on two separate sets of 26 drawings. Three similarity dimensions accounted for the interstimulus distances for each set of drawings. Although no statistical test was available, the dimensions from the two seta appeared to correspond. Scale values of 4 drawings common to the two sets were consistent, and the dimensions appeared to define very similar stimulus characteristics. It was concluded that multidimensional scaling procedures provided a means for differentiating among a set of complex, esthetic products. Scale values of drawings on the three dimensions also correlated differentially with cognitive and achievement measures available on the students, suggesting that product dimensions identified via similarity judgments were related to characteristics of individuals producing the products. Hypotheses were developed as to the psychological meaning of the three product dimensions.     

Generativity and imagination in autism spectrum disorder: Evidence from individual differences in children's impossible entity drawings

This study examined the cognitive underpinnings of spontaneous imagination in autism spectrum disorder (ASD) by way of individual differences. Children with ASD (N=27) and matched typically developing (TD) children were administered Karmiloff‐Smith's (1990) imaginative drawing task, along with measures that tapped specific executive functions (generativity, visuospatial planning, and central coherence processing style) and false belief theory of mind (ToM) understanding. The ASD group drawings displayed deficits in imaginative content and a piecemeal pictorial style. ASD participants also showed group deficits in generativity, planning and ToM, and exhibited weak coherence. Individual differences in generativity were related to imaginative drawing content in the ASD group, and the association was mediated through planning ability. Variations in weak coherence were separately related to a piecemeal drawing style in the ASD group. Variations in generativity were also linked with imaginative drawing content in the TD group; the connection unfolded when it received pooled variance from receptive language ability, and thereupon mediated through false belief reasoning to cue imaginative content. Results are discussed in terms of how generativity plays a broad and important role for imagination in ASD and typical development, albeit in different ways.     

Culture,Perception, and Artistic Visualization: A Comparative Study of Children's Drawings in Three Siberian Cultural Groups

In a study of three indigenous and non‐indigenous cultural groups in northwestern and northeastern Siberia, framed line tests and a landscape drawing task were used to examine the hypotheses that test‐based assessments of context sensitivity and independence are correlated with the amount of contextual information contained in drawings, and with the order in which the focal and background objects are drawn. The results supported these hypotheses, and inspection of the regression relationships suggested that the intergroup variations in test performance were likely to result from differences in the attention accorded to contextual information, as revealed by the drawings. Social and environmental explanations for the group differences in context sensitivity are also discussed. The conclusions support the argument that cultural differences in artistic styles and perceptual tests reflect the same underlying perceptual tendencies, and they are consistent with the argument that these tendencies reflect corresponding differences in patterns of social and environmental interaction.