The creative process is messy, iterative, and recursive rather than a linear sequence. It involves many conversations between participants about goals and actions, drawing on their experience and values. For "wicked" problems with unclear definitions, deciding when to stop requires judgment as the process ends only when time or patience runs out. The quality of conversations largely determines the outcome, reflecting the curiosity and determination of participants.

1. Ways of Seeing
Instructions for Getting Lost
August 07 2009 / The Feast Workshops

3. FRAME
A perspective
or viewpoint

4. “Primary frameworks
allow its user to locate,
perceive, identify, and
label a seemingly
infinite number of
concrete occurrences.”
ERVING GOFFMAN / FRAMEWORK ANALYSIS (1972)

5. discover define design develop deploy

6. beginning middle end

7. ready aim fire

8. the creative process
a model of
The creative process is classically described (Wallas, 1926) as Sometimes the goal is not clear. Participants don’t always agree
preparation incubation illumination verification on how to define the problem. Such cases require a new frame,
a new generative metaphor (Schön, 1990), or a new articulation
Businesses often describe the process as of the essential question.
research development execution
of frames + metaphors
drawing on a repertoire
with experience + values
through conversations
Agreeing on goals may require iteration—may involve
which must then be shared with other people.
And it frames the situation—or selects a metaphor to explain it—
It considers experience and values.
Reflection begins as a conversation with oneself.
These models suggest a tidy, linear structure a feedback loop. Several levels of loops may be nested:
beginning middle end - a listing of assumptions and a first approximation of a solution
- a primary process for refining the solution
Simple sequences sound manageable, even predictable. - a process for agreeing on the goal of the primary process
They promise tasks we can schedule and budget. That makes - a process for improving the process of agreeing on the goal
them appealing to people who run organizations and worry about
minimizing uncertainty and risk. But the creative process resists This “boot-strapping” process (Engelbart, 1962) is a sign of
planning; it’s not a recipe, script, or formula. (How could it be?) learning systems and organizations (Argyis + Schön, 1978).
In practice, the process is messy, iterative, and recursive.
The creative process is not just iterative; it’s also recursive.
Framed as a sequence, it’s a plan for achieving a goal It plays out “in the large” and “in the small”—in defining the
ready aim fire broadest goals and concepts and refining the smallest details.
It branches like a tree, and each choice has ramifications,
Yet a first shot doesn’t always hit the target. Achieving a goal which may not be known in advance. Recursion also suggests
may require a few tries; it may require iteration. Iteration is a a procedure that “calls” or includes itself. Many engineers
looping process, using feedback from earlier attempts to define the design process as a recursive function:
converge on a goal. Iteration enables participants to calibrate, discover define design develop deploy
correct mistakes, build on accidents, add and remove detail,
and improve skills through practice. The creative process involves many conversations—about
goals and actions to achieve them—conversations with
The creative process is less like a line and more like a loop: co-creators and colleagues, conversations with oneself.
observe reflect make observe reflect make . . . The participants and their language, experience, and values
affect the conversations.
The process need not begin with observing; it may begin
with any step. Boundaries between the steps are not rigid. Conversations about wicked problems especially benefit from—
Each activity continues throughout the process, e.g., and may require—a variety of views. Some of these views
making also involves reflecting and observing. form a habit of engaging (or observing, reflecting, and making)
observe reflect make observe reflect make often called “design thinking.” It might be thought of more
observe reflect make observe reflect make accurately as a set of lenses on design conversations
observe reflect make observe reflect make or creative conversations. These lenses provide perspective
beyond the immediate focus of the conversation or process:
If the goal is clear—if we have agreed on how we define a - attention - understanding - searching
problem, as in a math problem—then solutions may be implied. - openness - integration - envisioning
And we know when to stop. If the goal is less clear, deciding
when to stop requires judgment. The quality of the conversations is largely responsible for
the outcome of the process. The quality of the resulting product
But some problems are “wicked” (Rittel, 1969). Their definition reflects the quality of the creative process—and the curiosity
depends on point of view; participants can always broaden and determination of the participants.
or deepen their understanding and improve their solutions.
to understand
For such problems, starting and stopping are arbitrary and
external to the process. It ends only when we “run out of time,
money, or patience” (energy, will, or gumption).
what people want
how culture is evolving
ex to integrate
The
res plora
The goal
Ge main is to bu
nera tas
tive k of ild a sh
rese gene ar re
ear tor
by seeing patterns arch rativ ed un
by building consensus
gensearc
inter e re derst
ch y
sects sear andin
Explo refle ch is g of
The rator
reflect cting to co the de
The main y re + mame up sired
se era h
At goal task arch kin with situa
fir
as st, the is to buof explo inter
g. ide
wo as. tion.
explo rk curre ild a rator sects tive
reac ratorprocee nt sit shar y re obse
t to y re ds ua ed sear rvi
newl sear and tion unde ch is ng + re
y cr ch the pr may rstan to “m flecti
bo
eated may oces be ne ding ap ng.
artifaalso inv s ite w; of the the ter
in
ch unda
cts olv rates curre rain.
or “d e ob ,
esign servi
prob ng ho
nt sit ”
uatio de sight
ma arac ries
n.
es.” w co
nstitu
ents cri finiti s + c
ps ters + is ter ons on
+ m + su ia + + cep
ode stor es goa hypo ts
ls ies ls the
ses
implement
illuminate
incubate
prepare
iterate
ve
ser ake
ss
Some steps essential to the creative In the middle, the process as sequence Once an idea has been hatched and refined,
ob
nne
process lie outside its core. may take a detour and iterate in a loop. it must still make its way into the world.
Communicating the idea to others
n
Accepting responsibility for the task Many creative people have said and building consensus for adoption
and preparing tend to be one-time, that their best ideas came (illumination) are part of the innovation process
ntio
upfront tasks. after putting aside a problem and
m but may lie outside the core creative process.
ope
s
letting it incubate.
lture
Passing on responsibility to others—
rning + cu
leaving a legacy—
ss
expla ining
tte
+ lea le
mind gy
fulne
imag
is the final step in the larger process.
ing er peop
t + ener
miniatures + wireframes
ining the
to e
ith
spec +
wh future
listen oth
th re ssion
ha
tak rking
at it
wo
thumbnails + sketches
m
ing quick
g wi ting pa
fro
w
migh d ma
to s
adva ly
nvi
outlines + prototypes
an
t me king
actin ibu
nta + ite
ts
wit
” ry
ns
contr
ge
an it
tio uen
flow mo
of ac ting
ear
sio
ra
cid
tan
rsa stit
he me
ents
gib
le
.
in t uscle ials
ers. elf
nve + cond e
n
oth ones
ch
es
olv n with
ly inv tio
o ing m er ns ing ersa
h c xt are nc
reas conv
it incs as a
“be on mat atio
es
ntinu o begin
oug nte sh rie
it co
As ing als
ak
thr ith co g on expe
andawing ols + nvers
M
e.
guag reflect. hy?
d lan and ? W
re an back here
cultu step rtant n.
w awin ge +
n po
rn the u ca t’s im ersatio
st lea n yo ha nv
r h to co
d it
mu lf; the ?) W s co
unity se doing thi
w rough
dr gua
ers. comm your e we to aiduser s
oth rse ar rks t, ce
with ents’ imme hat wo jec , servi
tion nstitu you ? (W l frametion, ob ages
lan
sa co y ing ra ss
nver the slowl y do seve erac , me e th
a co rt of g in; e the ed nt, int nts pher
s as not pa kin t ar velop onme onme atmos
ha
begin are de loo ? W ve de vir envir cts,
tion who outsi here rs) ha ity, enjects, artifa
serva ts the is ne activ ob s,
Ob cipan e on ? Who desig rk: ople, tivitie
Parti you’r e we (and mewo rk: pe s, ac
First re ar hers IOU fra mewo actor
Whe nograp AE S fra work:
Eth son’sPOEM 4 frame
Robin r’s Ax
Kuma tein’s
Roths
The main task of evaluative research is to determine
Evaluative research intersects making + observing.
where prototypes fail to live up to expectations.
evaluative
The goal is to keep the process on course.
research
The creative process plays an important role in the arts,
design, science, and the professions (medicine, engineering,
law, and business). It has many analogues and synonyms.
quality cycle self-regulating system scientific method clinical process design process interaction loop
The creative process is startlingly similar to the quality Like a self-regulating system, the creative process is Forming a hypothesis is a special type of creative act. When physicians meet patients, they begin by taking The design process viewed as “problem solving” (Jones, 1976), Interaction (with computers or the wider world) answers three
cycle (Shewart, 1939), popularized in business circles by a classic feedback loop. Measure an essential variable; Framing the creative process as “experimenting” shows a history and examining the patient; tests may be indicated, “problem seeking” (Peña, 1987) or “turning existing situations into questions: What do you sense? (feel?) How do you learn + plan?
the quality management movement (Deming, 1982). compare it to a goal; and act to eliminate any difference. the close tie it has with the domain of science. which contribute to a diagnosis, which indicates therapy. preferred” (Simon, 1969) is a variation on the creative process. (know?) How do you change things? (do?) (Verplank, 2000).
hypothesis
synthesize
diagnose
compare
know?
plan
on
nt
ck re ati e e
min lyz
me
asu
te
at lua l?
fee
act
che
do?
erv ana
do
exa
eri tre
me obs exp eva
Copyright © 2009 Dubberly Design Office Institute for the Creative Process Dubberly Design Office prepared this concept map as a project the nature of the creative process and design thinking. ACAD is Design and writing by Hugh Dubberly and Shelley Evenson
Printed in Canada 2501 Harrison Street, #7 at the Alberta College of Art+Design of the Institute for the Creative Process at the Alberta College of a leading centre for education and research, and a catalyst for Research by ACAD faculty Vera Gartley, Wayne Giles,
San Francisco, CA 94110 1407-14 Ave NW Art+Design. The Institute exists to focus and organize activities, creative inquiry and cultural development. Walter May, and Justin Waddell
415 648 9799 Calgary, AB Canada enterprises, and initiatives of ACAD with regard to the cultivation Creative direction by Jack Chung, Robin Bahr, and Paul Pangaro
T2N 4R3 of dialogue, research, and special projects that directly address Please send comments about this model to icp@acad.ca.
403 284 7670
the creative process
HUGH DUBBERLY, COLLABORATION WITH JACK CHUNG, SHELLEY EVENSON, PAUL PANGARO