The present paper outlines an action theory of creativity and substantiates this approach by investigating creative expression in five different domains. We propose an action framework for the analysis of creative acts built on the assumption that creativity is a relational, inter-subjective phenomenon. This framework, drawing extensively from the work of Dewey (1934) on art as experience, is used to derive a coding frame for the analysis of interview material. The article reports findings from the analysis of 60 interviews with recognized French creators in five creative domains: art, design, science, scriptwriting, and music. Results point to complex models of action and inter-action specific for each domain and also to interesting patterns of similarity and differences between domains. These findings highlight the fact that creative action takes place not “inside” individual creators but “in between” actors and their environment. Implications for the field of educational psychology are discussed.

a b s t r a c tProfessional designers increasingly rely on IT-based systems in the course of their work. It is therefore crucial to know how such systems, especially computer-aided design (CAD) systems, influence both the design process and the final design, compared with the use of manual design methods. The objective of this paper is twofold: to address this issue and to suggest ways of improving IT-based systems specifically developed to support designers' activities. In the first phase of a two-phase study, we investigated how the use of different tools can affect the design process. In the second phase, we conducted two complementary analyses to determine how the use of different tools affects the assessment of final designs, as well as the effect of the judges' backgrounds on their assessments. We began by comparing the activities of two groups of designers: one group working with a CAD system, the other carrying out manual modelling. The results of this first phase revealed significant differences in the designers' activities (changing the viewpoint, switching tools, correcting errors) according to the design method they used. We then asked judges from four different backgrounds (professional designers, design teachers, retailers and users), to assess the final designs according to specific assessment criteria (aesthetics, originality, functionality, marketability). The results of this second phase revealed a significant preference for objects designed with a CAD system. Furthermore, the judges attributed different levels of importance to each of the assessment criteria, depending on their background. This last result underscored differences in the mental models constructed by different groups of audiences involved in product development and marketing. In addition, it allowed us to identify their specific expectations about final designs. Based on the results of our analyses, we suggest ways of improving IT-based systems with a view to integrating design assessment more fully into CAD environments.

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Due to current challenges in our society, education in the field of design is increasingly oriented towards work. Thus, the objective of this paper is to contribute to determine ways of favouring creativity in design by providing project-oriented training for design students. In accordance with cognitive models, we proposed and compared two educational methods intended to allow students to focus on either the management of constraints related to the design project at hand or the evocation of creative ideas. A total of 32 design students were trained in one of the two methods and they all had to solve the same design problem. The elements they evoked during the early stages of the design process were subjected to quantitative and qualitative analyses, and the creativity of their final designs was assessed by two design teachers. Results show that the type of method has a significant effect on the ideas and constraints evoked by designers but no correlation was observed between method and design outcome creativity. However, this research shows that it is possible to promote certain ways of thinking in design students and to train them with techniques they can use later on in their professional lives to satisfy the specificities of the design projects they undertake.

This study contributes to a better understanding of how the use of different tools influences both the design process and the way that final designs are assessed. Unlike previous research comparing computer aided design (CAD) and freehand sketching, we compared CAD and manual modelling. CAD systems and manual modelling both tend to be used after the early design stage, which is mainly involves sketching. Our study would therefore be useful for determining which of the two is more appropriate, depending on the designer's priorities and the intended purpose of the object being developed.Our study was conducted in two phases. First the activities of 20 designers were recorded in two different experimental conditions: 1) using a CAD system 2) using manual modelling. Secondly, 20 other participants (judges) were asked to assess the end results of these activities.According to the experimental condition, we observed differences in both the design activities and the assessments of the final designs. More specifically, items designed using a CAD system were scored higher on aesthetics, originality and marketing. However, no difference was observed for the functionality criterion.Use of a CAD system would appear to be most appropriate for highlighting aesthetic and marketing features, but manual modelling remains a suitable tool for designing functional objects.