Strategies for Nurturing

Critical and Creative Thinking

in the
Visual Arts

presented by
Daisy McTighe
Arts Consultant
6581 River Run
Columbia, MD 21044-6066
Mobile: 410- 599-1983
dcmctighe@comcast.net
 Creativity: Quotes on Creativity
the ability to make or otherwise bring into “No idea is so outlandish that it should not be considered with a
existence something new, whether a new searching but at the same time a steady eye.”
- Winston Churchill
solution to a problem,
a new method or device, or “New facts often trigger new ideas.”

a new artistic object or form.

- Alex Osborn

“Imagination rules the world.

- Napoleon

“The greatest enemies of creativity are crusty rigidity, stubborn

complacency, and fear of failure.”
- Eugene Raudsepp

“The best way to have a good idea is to have lots of ideas.”

- Linus Pauling

“In creating, the only hard thing’s to begin; A grass-blade’s no easier to make
than an oak.”
“Creativity involves breaking out of established patterns in - James Russel Lowell
order to look at things in a different way.”

- Edward deBono “Originality is simply a fresh pair of eyes.”

- Woodrow Wilson

Three ways to Train the Mind for Creativity “Every act of creation is first of all an act of destruction.”
- Pablo Picasso
1. Challenge assumptions.
“ Reason can answer questions, but imagination has to ask them.”
2. Change your perspective. - Ralph Gerard

3. Let ideas run wild.

“Questions are the creative acts of intelligence.”
-Frank Kingdon

Strategies for Nurturing Critical and Creative Thinking in the Visual Arts Presented by Daisy C. McTighe 2007 1
 BLOCKS Fifty Excuses for a
CLOSED MIND
TO CREATIVE THINKING AND CREATIVE ACTION 1. WE TRIED THAT BEFORE.
EMOTIONAL BLOCKS 2. OUR PLACE IS DIFFERENT.
- Fear of making mistakes, or of making a fool of one’s self 3. IT COSTS TOO MUCH.
4. THAT’S BEYOND MY/OUR RESPONSIBILITY.
- Fear of the risk of pioneering... the risk of being “first” ... a minority of one! 5. WE’RE ALL TOO BUSY TO DO THAT.
- Latching on to the first idea that comes, and stopping there. 6. THAT’S NOT MY JOB.
- Fear and distrust of supervisors, associates, and subordinates 7. IT’S TOO RADICAL A CHANGE...
- Inability to relax... to permit “incubation” to operate 8. WE DON’T HAVE THE TIME.
9. NOT ENOUGH HELP...
- Inability to put aside what appears to be one workable solution, and to continue searching for 10. THAT WILL OBSOLETE OUR EQUIPMENT.
additional alternatives 11. OUR ORGANIZATION IS TOO SMALL.
- A strong preference for so-called “security” of the known and obvious 12. NOT PRACTICAL FOR BUSY PEOPLE...
- Difficulty in changing mental set 13. DON’T HAVE ROOM IN OUR SCHEDULES
- Inflexibility and dependence upon the opinion of others, often known as “THEY” TO DO IT...
14. WE’VE NEVER DONE IT BEFORE.
- Lack of “drive” in carrying through, from problem to solution and implementation 15. IT’S CLEARLY AGAINST POLICY.
- The belief, “ I AM NOT A CREATIVE PERSON.” 16. IT’S NOT IN THE BUDGET.
17. WE DON’T HAVE THE AUTHORITY.
CULTURAL BLOCKS 18. THAT’S TOO “IVORY TOWER.”
19. LET’S GET BACK TO REALITY.
- Desire to conform to societal patterns...to “belong.” 20. THAT’S NOT OUR PROBLEM.
- The use of the “AUTOMATIC NO!” response to new ideas 21. WHY? IT’S STILL WORKING TODAY. .
- An inclination to follow an “all or nothing” point of view 22. I DON’T LIKE THE IDEA.
- Too much faith in “statistics” and in “past experience.” 23. YOU’RE RIGHT, BUT...
- Belief that fantasizing (imagining) is a waste of time 24. YOU’RE TWO YEARS AHEAD...
25. WE’RE NOT READY FOR THAT.
- A desire to put “practicality” and “economy” ahead of all other considerations, with the result that 26. WE DON’T HAVE THE EQUIPMENT ORROOM.
judgment and decision comes into play too quickly, before many alternatives are put forth 27. WE DON’T HAVE THE PERSONNEL.
- An inability to compromise ideas 28. CAN’T DO IT...TOO HARD!
- A feeling that to be inquisitive or to doubt something is “impolite.” 29. CAN’T TEACH AN OLD DOG NEW TRICKS.
30. GOOD THOUGHT, BUT IMPRACTICAL.
- Too much faith in “logic” and “reason.” 31. LET’S HOLD IT IN ABEYANCE.
- An overemphasis on cooperation, leading to subjugation 32. THE GROUP WILL NEVER BUY IT.
33. IT’S TOO HARD TO DO.
PERCEPTUAL BLOCKS 34. THEY’LL LAUGH AT US.
- Failure to realize a need to investigate the”obvious” 35. NOT THAT AGAIN!!36. WHERE DID YOU DIG THAT
ONE UP?
- Failure to distinguish between “cause” and “effect” 36. IT’S TOO COMPLICATED
- Difficulty in defining the problem or challenge to be met 37. WE DID ALL RIGHT WITHOUT IT.
- Difficulty in breaking up a problem into manageable pieces 38. THAT’S WHAT TO EXPECT FROM STAFF.
- Difficulty in differentiating between “facts” and “problems” 39. IT’S NEVER BEEN TRIED BEFORE.
40. LET’S FORM A COMMITTEE.
- Presenting so-called “solutions” to “problems” which have not yet been defined 41. HAS ANYONE ELSE TRIED BEFORE?
(If you have not defined the problem, how can you think up solutions to “it”?) 42. I DON’T SEE THE CONNECTION.
- Failure to use all the senses to contact with the environment... for example, failure to HEAR what 43. IT WON’T WORK.
you LISTEN TO...failure to SEE what you LOOK AT...etc. 44. WHAT YOU’RE REALLY SAYING IS...
- Failure to recognize and to consider so-called “trivia” 45. IN YOUR DEPARTMENT, YES; IN MINE, NO.
46. THE BOARD OF DIRECTORS WILL NEVER BUY IT.
- Difficulty in seeing remote relationships 47. I KNOW A FELLOW WHO TRIED IT...
- Inability to define terms 48. TOO MUCH TROUBLE TO CHANGE.
- Narrowing one’s point of view too much 49. WE’VE ALWAYS DONE IT THIS WAY.
50. IT’S IMPOSSIBLE
Source: Creativity in Action; Sharon, Connecticut

Strategies for Nurturing Critical and Creative Thinking in the Visual Arts Presented by Daisy C. McTighe 2007 2
 Four Features of Creativity
USING IMAGINATION BEING ORIGINAL
Imaginative activity is the process of generating something original: Creativity always involves originality.
providing an alternative to the expected, the conventional, or the routine. This But there are different categories of originality.
activity involves the processes of thinking or behaving. • Individual- a person’s work may be original
in relation to their own previous work and output.
Imaginative activity is a form of mental play - serious play directed • Relative - it may be original in relation to their peer group; to other
towards some creative purpose- a mode of thought which is essentially genera- young people of the same age, for example.
tive: in which we attempt to expand the possibilities of a given situation; to look • Historic - the work may be original in terms of anyone’s previous output
at it afresh or from a new perspective, envisaging alternatives to the routine or in a particular field; that is, it may be uniquely original
expected in any given task.
There can also be degrees of originality within these categories of
Creative insights often occur when existing ideas are combined or greater or less originality in relation to individual or group output. Originality in
reinterpreted in unexpected ways or when they are applied in areas with which creative work will often be judged to be of the first two categories.
they are not normally associated. Often this arises by making unusual connec-
tions, seeing analogies, and relationships between ideas or objects that have not
previously been related.
JUDGING VALUE
PURSUING PURPOSES The outcome of imaginative (generative) activity can only be called cre-
Creativity carries with it the idea of action and purpose. It is applied ative if it is of value in relation to the task at hand. There are many possible judg-
imagination. The imaginative activity is fashioned, and often refashioned, in ments according to the area of activity: effective, useful, enjoyable, satisfying,
pursuit of an objective. Someone who is creative is one who is actively engaged valid, etc. The criteria for value vary according to the field of activity in question.
in making or producing something in a deliberate way.
Evaluating which ideas work and which do not requires judgment and
This is not to say that creative insights or breakthroughs may not occur criticism. In this way, creative thinking always involves critical thinking as well as
unexpectedly along the way, for example by intuition or non-directed thought, reflective thinking (metacognition, self-regulated thinking).
but they occur on the way to something: to meeting the overall objective, or
to solving the central problem. This can be a highly dynamic process, whose Critical evaluation involves a shift in the focus of attention and mode of
eventual outcomes can be quite different than thoses anticipated at the onset. thinking as we attend to what is working or not working. This happens through-
Sometimes this objective changes as new ideas and possibilities come into view: out the process of creativity and not only at the end. In most creative work, there
sometimes, as with inventions and discoveries, new purposes are found when are many shifts between creative thinking and critical evaluation.
an initial product or idea has emerged.
Source: National Advisory Committee on Creative and Cultural Eudcation, Report to the Secretary of State for Education and Employment; the Secretary of State for Culture, Media, and Sport. May 1999, Qualifications and Curriculum Authority, 83 Picadilly,
London, www.qca.org

Processes of Creativity
I. IMAGINING:
Developing and drafting ideas, concepts, feelings, etc.related to a problem being defined;
selecting/evaluating which ideas are most feasible for solving the problem

II. PLANNING:
Experimenting, researching, designing with materials; selecting/evaluating which ideas
from planning stage (experiments, research, designing) might best meet desired goal and solve problem

III. MAKING, REFINING, EVALUATING: Applying knowledge, skills, techniques; refining ideas, drafts; maintaining materials; evaluating progress of work/quality

IV. PRESENTING: Presenting, exhibiting, sharing work for others to see

Strategies for Nurturing Critical and Creative Thinking in the Visual Arts Presented by Daisy C. McTighe 2007 3
 Critical Thinking Strategies for Developing
WORKING DEFINITION: Critical Thinking is reasonable, reflective Creative Capabilities
thinking that is focused on deciding what to believe or do. As a
“balance” to Creative Thinking, it seeks to focus on ideas that will CREATIVE THINKING involves four related
move the creative work to a purposeful conclusion. capabilities. Each can be nurtured and enhanced through
instructional strategies that match each capability.
Critical thinking dispositions: Students should have opportunities to learn the purpose of each
1. Seek a clear statement of the thesis or question strategy and practice it, then apply it in a purposeful context.
2. Seek reasons
3. Try to be well informed Creative Thinking Capabilities Instructional Strategies
4. Use credible sources and mention them
5. Take into account the total situation FLUENCY - the abiity to
6. Try to remain relevant to the main point produce many ideas, possible Brainstorming
7. Keep in mind the original or basic concern solutions
8. Look for alternatives
9. Be open-minded
FLEXIBILITY - willingness to
- Consider seriously other points of view than one’s own Looking at Attributes
(“dialogical thinking”) expand upon ideas, change
- Reasons from premises with which one disagrees - without direction, and challenge Attribute listing
letting the disagreement interfer with one’s own reasoning given information
(“suppositional thinking”)
- Withhold judgment when the evidence and reasons are ORIGINALITY - the capability to Analogous relationships
insufficient take risks and deviate from
10. Take a position (and change a position) when the evidence
Inferring
the common patterns to
and reasons are sufficient to do so produce clever, unique or
Mapping
11. Seek as much precision as the subject permits unusual responses Synectics
12. Deal in an orderly manner with the parts of a complex whole
13. Be sensitive to the feelings, levels of knowledge, and degree
of sophistication of others ELABORATION - expanding,
Viewpoint questions
developing and embellishing
ideas and products; going Supposition questions
beyond initial insight, being able Analysis of attributes
to modify and experiment SCAMPER
in order to view all possibilities Visualization
Source: Ennis, Robert. (1991) “Goals for a Critical Thinking Curriculum.” In Developing Minds: A
Resource Book for Teaching Thinking, Revised Edition, Volume 1. edited by A. Costa,
pp. 68-71. Alexandria, VA: Association for Supervision and Curriculum Development Source: Baltimore County Public Schools, Curriculum documents

Strategies for Nurturing Critical and Creative Thinking in the Visual Arts Presented by Daisy C. McTighe 2007 4
Improving Fluency through Brainstorming
“No idea is so outlandish that it should not be considered with a searching,
but at the same time, a steady eye.”
- Winston Churchill
Fluency may be defined as the ability to produce MANY ideas or possible
solutions to a given situation. The emphasis is on quantity rather than quality. The
ability to generate many ideas provides more options from which to select. A large
quantity of ideas increases the probability of producing original ideas or solutions.
Brainstorming is a strategy that provides a structured approach to fluency.
BRAINSTORMING is designed to generate many ideas and works best
in small groups of about three to five participants. It is a strategy that can be used
at all phases of problem solving, but it should not be considered an end in itself.
In the classroom, brainstorming has added benefits for shared work and may also
be used to:
- GENERATE MULTIPLE IDEAS FOR ARTWORKS
- ESTABLISH AN ACCEPTING CLIMATE
- ENCOURAGE STUDENT-STUDENT INTERACTION
- “BREAK THE ICE” WHEN WORKING IN GROUPS
- BUILD CONFIDENCE
- REDUCE FEAR OF RISK-TAKING
- MOTIVATE STUDENTS TO PERSIST
Frequently, ordinary responses will be generated in the beginning. Allow
enough times in a session to exhaust common responses. This will force the
participants to become more inventive. Repeated applications of brainstorming
to appropriate situations will increase fluency of students.
BRAINSTORMING IS MOST USEFUL AND EFFECTIVE WHEN USED IN AN
INSTRUCTIONAL CONTEXT TO MEETING A PERFORMANCE GOAL.
BRAINSTORMING GUIDELINES (The D.O.V.E. Rule)
D DEFER JUDGMENT: NO NEGATIVE CRITICISM
Defer judgment until a large number of alternatives has been produced.
O ORIGINALITY: FREEWHEELING IS DESIRED
Wild, off-beat, unusual ideas are encouraged.
V VASTNESS/VARIETY: QUANTITY IS STRESSED
Include the small, obvious alternatives as well as the wild, unusual,
clever ones.
E ELABORATE ON OTHERS’ IDEAS: COMBINE ALTERNATIVES
Source: Baltimore County Public Schools, Curriculum documents
Strategies for Nurturing Critical and Creative Thinking in the Visual Arts
Looking at Attributes
Concept Attainment Technique
In order to understand and interact with various components of our
environment, we attempt to categorize objects, groups, and events on the
basis of common traits; leading to the formation of generalizations. Jerome
Bruner, et al., developed a teaching method based on research, which
enables students to discover how to formulate a rule or "concept" from the
analysis of common traits or attributes; this method is called CONCEPT
ATTAINMENT.
MAJOR STEPS IN CONCEPT ATTAINMENT:
1. Present examples and identify the concept.
2. Test attainment of the concept.
3. Analyze thinking strategies.
OBJECTIVES:
1. To compare and contrast
2. To infer relationships
3. To group or categorize
4. To discover rules and make generalizations
5. To analyze thinking patterns used to acquire a concept.
PREREQUISITE SKILLS:
1. Idenify features or characteristics as attributes.
2. Identify attributes as essential and non-essential.
MATERIALS:
Sets of pictures, numbers or word cards, or objects which are ex-
amples of positive and negative examples of a concept.
METHODS: TWO BASIC METHODS OF CONCEPT ATTAINMENT
1. RECEPTION is a more direct approach for teaching students the
elements of a concept. The teacher begins the activity by presenting samples
of the concept that are clearly labeled as "yes" or "no."
Students demonstrate understanding of the concept by identifying additional
samples as "yes" or "no."
2. The SELECTION approach: students use "trial and error" or
"guess and check" as strategies to correctly identify the concept.
Source: Baltimore County Public Schools, Curriculum documents
Presented by Daisy C. McTighe 2007 5
 Questions to Broaden Creative Thinking Strategies for Improving Elaboration
DIVERGENT QUESTIONING MODEL SCAMPER
is an acronym for a series of words used to stimulate thinking and elaboration
QUANTITY QUESTIONS

S
By using this type of question, you will encourage SUBSTITUTE:
students to be FLUENT in their thinking. This process is TO HAVE A PERSON OR THING ACT OR SERVE IN THE
also known as BRAINSTORMING. PLACE OF ANOTHER
What can be put in place of this? Who or what else?
LIST ALL THE _______________________________________
WHAT ARE ALL THE POSSIBLE IDEAS YOU CAN THINK OF ?

C
COMBINE:
TO BRING TOGETHER, TO UNITE
SUPPOSITION QUESTIONS What can be combined with this?
By using this type of question, you ask the students
to IMAGINE that something is true and to consider the con- What ideas have potential to be connected?
sequences. This activity may also require the REORGANI- ADAPT:

A
ZATION of information.
TO ADJUST TO SUIT A CONDITION OR PURPOSE
WHAT WOULD HAPPEN IF ________________WERE TRUE ? What else is like this? What other ideas does it suggest?
SUPPOSE ___________________ HAPPENED, WHAT What else can this be used for?
WOULD BE THE CONSEQUENCES?
MODIFY:
VIEWPOINT QUESTIONS TO ALTER THE FORM
By using this type of question, the students must be

M
What can be changed? Is it possible to change the
FLEXIBLE in their thinking and try to see things from a color? form? shape?
different POINT OF VIEW. TO MAKE SMALLER, LIGHTER, SLOWER
Is it possible to lower? shrink? compress, shorten?
HOW WOULD THIS LOOK TO A ________________________?
HOW WOULD ____________________________VIEW THIS ? TO ENLARGE OR MAKE GREATER IN FORM OR QUANTITY
Is is possible to add more? to make larger? to multiply?
INVOLVEMENT QUESTIONS PUT TO OTHER USES:

P
By using this type of question, you will encourage the TO BE USED FOR PURPOSES OTHER THAN ORIGINALLY
students to use ASSOCIATIVE THINKING. They will draw INTENDED
ANALOGIES between their own FEELINGS and another
object of association. Can it be put to other uses if it is modified? Is it possible to
use in new ways as is?
HOW WOULD _________________ FEEL IF IT WERE HUMAN Are there other places where it can be used?
AND HAD FEELINGS ?

E
IF YOU WERE _______________, WHAT WOULD YOU (DO, ELIMINATE, ELABORATE
THINK, FEEL) ? TO REMOVE, OMIT, OR GET RID OF A PART
What can be removed? simplified?
FORCED ASSOCIATIONS
By using this type of question, you are asking your TO MAKE MORE DETAILED, DECORATIVE
students to use ASSOCIATIVE THINKING. They will concen-

R
trate on making COMPARISONS between different things.
HOW IS A _________________ LIKE A __________________?
GET IDEAS FROM ____________ TO IMPROVE __________.
Source: Baltimore County Public Schools, Curriculum documents with permission to use work Source:
developed by B. Milan, Englewood, CA: Educational Consulting Associates, Inc.
REARRANGE
TO CHANGE ORDER OR ADJUST
Is it possible to interchange the components? Can it
be reversed? inverted? transposed? turned?
BCPS, Curriculum documents with permission to use work of Bob Eberle, SCAMPER:
GAMES FOR IMAGINATION DEVELOPMENT. Buffalo, N.Y., D.O.K. Publishers, 1971

Strategies for Nurturing Critical and Creative Thinking in the Visual Arts Presented by Daisy C. McTighe 2007 6
 Analogous Relationships/Synectics
Synectics is a term derived from Greek, which means the joining together of different and apparently irrelevant elements. Applied to
creative thinking, synectics involves the use of metaphor and analogy to develop original ideas and new combinations of ideas. The two
basic principles of synectics involve “making the strange familiar and making the familiar strange.”

“Synectics aids such discovery by jostling the brain and stretching the imagination to make unique comparisons. The more
outrageous the associations, the better the chance of bringing to the surface notable ideas and inventions.”
- Nicholas Roukes

Roukes’s 23 Synectic Trigger Mechanisms

- trigger words to encourage transformational thinking -

Subtract Repeat Add Transfer Empathize

Animate Substitute Fragment Isolate Distort
Symbolize Disguise Parody Combine Contradict
Fantasize Prevaricate Analogize Hybridize Change scale
Metaphorphose Mythologize Superimpose

Synectic Think Cycle: the “Three R’s”

Referring: initial stage of awareness, posing the problem, investigating and collecting information; using
feelings, emotions, personal knowledge, art materials and techniques, and synectic trigger
mechanisms as references to generate/extend/elaborate on thinking

Reflecting: imaginative interplay about the subject/problem and speculating/contemplating/incubating

possibilities

Reconstructing: process of re-inventing or transforming using synectic trigger mechanisms

Sources: Roukes, N. (1982) Art Synectics. Worcester, MA: Davis Publications.

Roukes, N. (1988) Design Synectics. Worcester, MA: Davis Publications.

Strategies for Nurturing Critical and Creative Thinking in the Visual Arts Presented by Daisy C. McTighe 2007 7
 Encouraging Creative Production
A Summary of Practical Implications for the Teacher
1. PROVIDE A NON-THREATENING ATMOSPHERE - The classroom
environment should be structured in such a way that students’ ideas
and opinions are respected, ridicule of new ideas eliminated,
questioning in encouraged, and questions are asked that allows
students to be open and uninhibited in response.
2. REFRAIN FROM BECOMING THE JUDGE OF THE WORTH OF
ALL PRODUCTS IN THE CLASSROOM - An open, nonjudgmental
attitude on the part of the teacher will allow more freedom for
divergent production as well as the evaluative skills necessary or the
complete creative process. Encourage students to develop criteria to
judge both the work of peers and themselves.
3. MODEL CREATIVE THINKING AND/OR INTRODUCE OTHER
INDIVIDUALS WHO ARE ABLE TO ILLUSTRATE THE CREATIVE
THINKING PROCESS TO STUDENTS - The teacher should take
care to model creative problem solving procedures on as many
occasions as possible, not simply during “creativity time.”
4. ATTEMPT TO INTEGRATE ACTIVITIES AND QUESTIONS THAT
ENCOURAGE DIVERGENT PRODUCTION AND EVALUATION
INTO AS MANY CONTENT AREAS AS POSSIBLE - The necessity
of illustrating transfer of these skills to all areas of thinking cannot be
overestimated.
5. MAKE A CONSCIOUS EFFORT TO REMIND STUDENTS TO BE
CREATIVE, TO BE ORIGINAL, TO TRY TO THINK OF NEW WAYS
TO SOLVE A PROBLEM, ETC.
6. SYSTEMATICALLY REWARD NOVEL PRODUCTION - The use of
operant conditioning to reinforce specific types of novel behavior can
lead to an overall increase in creative production. For example, the
reinforcement of the use of a variety of sentence structures in an
essay has been shown to influence overall creative writing skill. Care
should be taken to choose appropriate reinforcement.
7. PROVIDE STIMULI FOR AS MANY OF THE SENSES AS
POSSIBLE - A variety of stimuli encourage the student to view the
problem from a variety of perspectives and also seem to enhance
the sense of openness and psychological freedom.
Strategies for Nurturing Critical and Creative Thinking in the Visual Arts
8. MAKE USE OF WARM-UP ACTIVITIES WHEN MOVING FROM
HIGHLY STRUCTURED CONVERGENT TYPE OF ACTIVITIES
INTO ACTIVITIES REQUIRING STUDENTS TO ENGAGE IN
CREATIVE PRODUCTION - Such brief activities should be used
to reaffirm the nonthreatening environment and are most effective if
they relate to the task to be accomplished.
9. INCORPORATE ACTIVITIES INTO THE CLASSROOM
INSTRUCTION THAT REQUIRE STUDENTS TO GENERATE A
LARGE NUMBER OF CORRECT RESPONSES - That is, provide
open-ended questions that have no single, right answer.
10. INSTRUCT STUDENTS IN THE PRINCIPLES OF
BRAINSTORMING, BUT INCORPORATE STRATEGIES FOR
SELF-EVALUATION OF THE QUALITY OF IDEAS - Furthermore,
brainstorming activities will be most productive if tied to “real
problems” or “meaningful production” rather than simple
games.
11. BE A PARTICIPANT IN THE ACTIONS - Do not merely pose
problems, be an active problem solver.
12. ENCOURAGE STUDENTS TO EXPRESS POSITIVE SELF
STATEMENTS ABOUT THEIR CREATIVITY AND AVOID
NEGATIVE SELF EVALUATIONS - Provide students with guiding
statements of attitudes, approaches to problems, and orientations to
the process.
13. WHICHEVER STRATEGIES ARE ADOPTED FOR CLASSROOM
USE MUST BE EVALUATED WITHIN THE PARTICULAR
CLASSROOM WITH THE TEACHER’S STUDENTS AND
TEACHING STYLE - What works in one situation will not always
work in others. Continual assessment of the objectives of the
instruction is crucial.
Source: Callahan, Carolyn M. Developing Creativity in the Gifted and Talented.
The Council for Exceptional Children, 1978.
Presented by Daisy C. McTighe 2007 8
 Habits of Mind Visual Problems
that support creativity “The Elegant Problem”

Creative Behavior is dependent upon habits of mind that enable the
learner to take action in a productive manner. In order for one to generate
creative ideas, effectively solve a problem, execute a plan, assess progress,
and evaluate the effectiveness of one’s choices and actions,
three ways of thinking need to be present:
The Creative Process challenges the young artist to think critically
and creatively and monitor their working process. Students apply
creative thinking processes when they are engaged in
solving visual problems as they create visual products.

CRITICAL THINKING
What Makes a Good Visual Problem?
• Being accurate and seeking accuracy
• Being clear and seeking clarity
• Maintaining an open mind A good problem is worth doing; it serves individual needs,
• Restraining impulsivity communal needs, or both, resulting in new learning, new insights or
• Taking a position when the situation warrants it discoveries, and new ways of thinking about ideas. A good problem has
• Responding appropriately to others’ feelings and level of knowledge value to the problem solver. Moreover, a good problem encourages:

CREATIVE THINKING • FLEXIBILITY

• Perservering (persisting when obstacles seem to get in the way;
tolerating ambiguity until more information is available)
• Pushing the limits of one’s knowledge and abilities (risk-taking and
trying something new)
• Generating, trusting, and maintaining one’s own standards of
evaluation
• Generating new ways of viewing a situation outside the boundaries
of standard conventions (experimentating with ideas,
materials, approaches)
SELF-REGULATED THINKING
A good problem accommodates a wide variety of abilities, levels of
engagement, and ideas.
• FLUENCY (choice-making)
A good problem involves choice-making among media, visual
concepts or design elements and principles, ideas, themes,
subject matter, and style, and results in a product.
• ELABORATION
A good problem offers opportunities for elaborating on ideas,
images, materials.

• Monitoring one’s own thinking • ORIGINALITY

• Planning appropriately A good problem encourages unique, novel, and inventive solutions.
• Identifying and using necessary resources
• Responding appropriately to feedback
• Evaluating the effectiveness of one’s actions Adapted from: Kay, S. (1998) “Shaping Elegant Problems for Visual Thinking.” In J. Simpson,
J. Delaney, K. Carroll, C. Hamilton, S.Kay, M. Kerlavage, and J. Olson, Creating
Source: Marzano, R. and D. Pickering, (1997). Dimensions of Learning, Alexandria, VA: ASCD. Meaning through Art, pp. 259-258. Upper Saddle, NJ: Merrill/Prentice Hall.

Strategies for Nurturing Critical and Creative Thinking in the Visual Arts Presented by Daisy C. McTighe 2007 9
 Samples of Visual Problems
“The Elegant Problem”
The following are samples of visual problems that meet the criteria described by Sandra Kay in the preceding page. They are open-ended, developmentally
appropriate, purposeful, and provide the student with adequate levels of guidance and resources to ensure success.
REAL AND FANCIFUL ANIMALS
A visual problem about visual stories
Level: Elementary, grade 3
Essential Question:
Can pictures tell stories? How do artists tell stories with pictures? Where do
artists get their ideas?
Problem: Make a drawing that tells a real or imaginary story about two
animals interacting or an animal interacting with a person. Use oil
pastels to add color, details and an environment for the animals.
Introduction, motivation and preliminary activities:
Students will look at and analyze two artworks: Theophile
Steinlen’s “Girl and Three Kittens” and Picasso’s “Lobster and Cat” to discuss
concepts of storytelling, interactions, similarities and differences, and sources
for ideas. In trios, students will brainstorm different ways animals and/or people
interact and discuss where these interactions might take place. They will
discuss ways that artists tell stories with pictures. Using picture resources to
guide their thinking, students will use their list to individually plan 3 sketch ideas
of animals and/or people interacting . Students will select their best idea to
enlarge, add an environment, details, and color media.
Resources: Pablo Picasso: “Lobster and Cat”
Theophile Steinlen: “Girl and Three Kittens”
Picture references of different animals
Picture references of different animal environments
Teacher sample of color drawing techniques
Problem designed by S. Emmerich, D.Kuthy, H. Smith, and D. Steelwright, art teachers,
Baltimore County Public Schools
Strategies for Nurturing Critical and Creative Thinking in the Visual Arts
MEDIEVAL SINGING GARGOYLES
A visual problem about form and function
Level: Elementary, grade 5
Essential Question:
Where do artists get their ideas? How does function affect form? How does
form affect function? How does media affect artistic expression?
Problem: Design and construct an ocarina (ceramic wind instrument) that
is based on a study of Medieval Gargoyles.
Introduction, motivation and preliminary activities:
Students will read about and look at Medieval gargoyles and
ocarinas to develop a basic knowledge about the history, form, and function
of gargoyles and ocarinas. They will listen to sounds from selected film clips:
Bertolucci’s 1900 and Morricone’s The Good, the Bad, and the Ugly to hear
examples of sounds, and listen to a demonstration of sounds from different
sizes of ocarinas. They will be guided on how to construct the clay vessel that
will serve as the mouthpiece of the ocarina, and test their construction for
sound. Students will then brainstorm 3-4 ideas of “gargoyle expressons” that
they will add to the mouthpiece and select one idea to model and attach to the
mouthpiece being careful not to obstruct the playing elements and note open-
ings of the mouthpiece. Students will refine their ocarinas prior to firing, then
add details and color. Students will test their finished sculptures and discuss the
form and function of their designs.
Resources: Selected film clips: Bertolucci’s Italian epic 1900;
Morricone’s The Good, the Bad and the Ugly
Reproductions of gargoyles
John Blackwood: Oxford’s Gargoyles and Grotesques
Jack Prelutsky: The Gargoyle on the Roof
Problem designed by K. DiLisio, art teacher, Baltimore County Public Schools
Presented by Daisy C. McTighe 2007 10
 Samples of Visual Problems
“The Elegant Problem”
The following are samples of visual problems that meet the criteria described by Sandra Kay in the preceding page. They are open-ended, developmentally
appropriate, purposeful, and provide the student with adequate levels of guidance and resources to ensure success.
FROM TRASH TO TREASURE
A visual problem about creative recycling
Level: Middle, grade 7
Essential Question:
How can ordinary objects be transformed into works of art? How does media
influence artistic expression? Where do artists get their ideas?
Problem: Identify an ordinary object in your environment (old chair, table,
tool/implements, old shoes, clothing, lamp, box, etc.) Transform
the object from “trash to treasure” by changing the surface,
combining it with other objects, giving it a new purpose and/or
adding images/designs of personal interest to give it new
meaning. Use the work of Tom Miller, Marisol, and Magritte as
primary sources of inspiration.
Introduction, motivation, and preliminary activities:
Students will look at and discuss sculptures by Marisol, functional
objects by Tom Miller, and surreal images by Magritte. They will identify
topics and themes, and analyze characteristics of each artist’s style. Students
will brainstorm ways that topics, themes, and stylistic characteristics of the art-
work they studied can be combined, modified, and applied to transforming their
object. They will plan 4-5 sketch ideas showing influences of the artists they
studied, potential new uses for the object, and identify potential materials and
media to use in finishing their object. They will select one idea to finalize and
finish it in a medium/media of their choice.
Resources: Tom Miller: “Mardi Gras King,” slides of other painted furniture
and sculpture
Marisol Escobar: “George Summer,” “The Wedding,”
“The Cocktail Party,” “The Visit”
Rene Magritte: “La Golconde,” “Le Modele Rouge,”
“Le Blanc-seeing,” “Le Valeurs Personnelles”
Problem designed by P. Cruz and H. Smith, art teachers, Baltimore County Public Schools
Strategies for Nurturing Critical and Creative Thinking in the Visual Arts
RIBBONS IN SPACE
A visual problem about rhythm, form and movement in space
Level: High School Foundations
Essential Question:
Where do artists get their ideas? How do artists use observation and imagina-
tion to create illusions of space and form?
Problem: Create a composition illustrating observed and imagined ribbon-
like forms moving in space. Use a variety of drawing techniques
to render the forms to show an illusion of advancing and
receding space, emphasis, contrast, and texture.
Introduction, motivation, and preliminary activities:
Students will look at and discuss a number of master works and
cultural exemplars that illustrate primary concepts emphasized in the problem.
They will be presented a flat strip of ribbon or paper and asked to curl and twist
the strip in a variety of ways. Students will investigate how parallel lines,
converging lines, and overlapping lines can be manipulated to create an
illusion of form and depth by doing short, observational drawing exercises of
the strips that have been curled and twisted in various ways. They will also
practice a variety of drawing techniques that help create illusions of form.
Students will plan a number of sketches, combining and making variations
of ideas to extend and elaborate on initial ideas. They will select one idea to
refine and complete a final composition using drawing media.
Resources: M.C.Escher-The Graphic Work
M.C. Escher: “Bond of Union”
Selected Celtic interlace designs
Selected Islamic tesselations
Problem designed by J. Hicks, L. Popp, and D. Webster, art teachers,
Baltimore County Public Schools
Presented by Daisy C. McTighe 2007 11
 Visual Problem Solving Exercises
PROBLEM 1
Brainstorming/Working with Attributes/Reflecting on Process
An historic building in your neighborhood is being renovated as a fine arts
building. The Board of Directors would like to commission a sculpture that
represents “The Artistic Spirit” to be placed in the foyer. Because the building is a
“renewal” of something old, the Board is interested in a work of art that will not
only symbolize ‘The Artistic Spirit,” but also the renewal of “found” materials so
they would like parts of the sculpture to be made of recycled materials.
PROBLEM 2
Brainstorming/Working with Attributes
Use the brainstorming strategy to list attributes of the object(s) depicted and
other words that may be associated with the object.
After you’ve completed your list, make a series of drawings using the attributes
or words to trigger images of the object. Select 3-4 drawings and combine
them in a composition that tells a story.

Brainstorm a list of attributes that might relate to the idea of “Artistic Spirit” then
either make sketches or experiment with materials to visualize your ideas. A
packet of materials has been assembled for you to use in generating ideas and
constructing a maquette of your idea. While working, think about what actual
recycled materials might be considered for some or all parts of the sculpture.

As you work to solve this problem, reflect on your thinking and your process of
working:
- What steps will you take to solve this problem?
- How will you generate ideas?
- What process will you use to develop ideas?
- What materials might best work?
- What criteria will you use to determine which idea to develop?

Use the space below to plan sketches (as needed), then begin constructing your
sculpture. Monitor your thinking by writing down your thoughts as you work.

Strategies for Nurturing Critical and Creative Thinking in the Visual Arts Presented by Daisy C. McTighe 2007 12
 Visual Problem Solving Exercises
PROBLEM 3 PROBLEM 4:
Forced Associations Forced Associations/
Look at the objects to the right. What would happen if selected parts of these Transformations
objects were combined as one? Look at the objects to the right. What would happen if one object transformed
into the other?
Create 3-4 ideas of possibilities for a functional object that has elements from Create an interesting composition showing a sequence of 5 or more “stages” in
each of these objects. What materials might best represent this object if it were to which one object transforms into the other.
be created as an actual object?

Strategies for Nurturing Critical and Creative Thinking in the Visual Arts Presented by Daisy C. McTighe 2007 13
 Visual Problem Solving Exercises
PROBLEM 5:
Symbolic/Metaphoric Analog
If you were to create a metaphorical self-portrait, what objects, images, and/or
symbols might be organized in a composition to represent your personality? List
words, combinations of words, and or phrases that may describe you (“ warm,
nurturing heart,” “headstrong,” “cool and reserved,” “fiery temper,” “bubbly hot
chili pepper,” etc) and sketch objects, images, and/or symbols that may be used
to represent the idea. Sketch your ideas in the space provided.

Strategies for Nurturing Critical and Creative Thinking in the Visual Arts Presented by Daisy C. McTighe 2007 14
 Related Websites on Creativity
The following websites are potential resources for additional
information on creativity. While not all have been throughly visited, a
short visit indicated that they may be worth checking into. Enjoy!!
www. ncaction.org.uk/creativity/index.htm
National Curriculum in Action (United Kingdom) - website gives
practical ideas on how to promote pupils’ creative thinking and
behavior. Includes examples of students’ creativity across the
National Curriculum
www.creativeeducationfoundation.org/index.shtml
Creative Education foundation is a non-profit membership
organization of leaders in the field of creativity theory and practice.
Website includes information on professional development
opportunities, articles and papers related to creative thinking and
much more.
www.creativelearning.com
Center for Creative Learning offers a variety of publications,
training programs, information, support, and consulting services on
creativity, Creative Problem Solving, talent development, and
learning styles.
www.destinationimagination.org
Non-profit membership organization dedicated to promoting three
critical life skills among learners at all levels: Creativity, Teamwork,
and Problem-Solving. Sites provides links to Destination Imagination
(student program) and professional development on creativity
www.idodi.org
Destination Imagination - provides information on the world’s largest
Creative Problem Solving program for students. It is a community-
based, school-friendly program that builds participants’ creativity,
problem solving, and teamwork in enjoyable and meaningful ways.
Strategies for Nurturing Critical and Creative Thinking in the Visual Arts
References and Resources
Ennis, R.H. (1991). Goals for a critical thinking curriculum. In Developing
minds: A resource book for teaching thinking, revised edition,
volume 1, edited by A. Costa, pp. 68-71. Alexandria, VA: Association
for Supervision and Curriculum Development.
Kay, S. (1998). Shaping elegant problems for visual thinking. In J.
Simpson, J. Delaney, K. Carroll, C. Hamilton, S.Kay, M. Kerlavage,
and J. Olson, Creating meaning through art, pp. 259-258. Upper
Saddle, NJ: Merrill/Prentice Hall.
Marzano, R., and D. Pickering. (1997). Dimensions of learning teacher’s
manual. Alexandria, VA: Association for Supervision and Curriculum
Development.
Pink, D. H. (2005). A whole new mind, why right-brainers will rule the
future. New York, NY: Penguin Group (USA) Inc.
Roukes, N. (2003). Artful jesters. Berkeley, CA: Ten Speed Press.
Roukes, N. (1988). Design synectics: stimulating creativity in design.
Worcester, MA: Davis Publications.
Roukes, N. (1984). Art synectics. Worcester, MA: Davis Publications.
Vieth, Ken. (1999) From ordinary to extraordinary. Worcester, MA: Davis
Publications.
Von Oech, R. (1989). Creative whack pack. Stamford, CT: U.S. Games
Systems, Inc.
Von Oech, R. (2003). Innovative whack pack. Stamford, CT: U.S. Games
Systems, Inc.
Presented by Daisy C. McTighe 2007 15