Test For Creative Thinking-Drawing Production Research Articles

Not Only Jumps, Slumps, but also Mini Plateau. Creative Potential Assessed by the Test for Creative Thinking-Drawing Production. A Cross-Sectional Study of Polish Students Aged from 7 to 18

The purpose of this cross-sectional study was to examine the developmental trajectory of creative potentials of Polish students. A total of 1,522 Polish students aged between 7 and 18 from lower and upper primary school, middle school, and high school participated in the study. Creative potential was measured by means of the Test for Creative Thinking-Drawing Production. The findings showed that older students achieved higher scores than the younger ones, drops in mean scores among students aged 13 and 16 were noted, and levelling of scores was found among students aged from 10 to 13, with a slight drop at the age of 13. Moreover, a phenomenon was discovered which was described as a mini plateau, i.e., an emergence of similar mean scores in 2 consecutive age groups. Possible explanations of the results are discussed, including interpretations in the context of the CMC and educational and environmental conditions which act as inhibitors or stimulators of the development of creative abilities.

Two Tracks of Thought: A Structural Model of the Test for Creative Thinking-Drawing Production (TCT-DP)

The Test for Creative Thinking-Drawing Production (TCT-DP, Urban & Jellen, 1986) is one of the most used instruments for the assessment of creative potential. Few studies exist regarding its factorial structure, and all of them were limited to using an exploratory approach. The aim of this research was to assess the factorial structure of the TCT-DP (Form A) for undergraduate and postgraduate Portuguese students. Two studies were performed, where Study 1 (967 participants) consisted of an exploratory factor analysis (EFA) that yielded a 2-factor solution and Study 2 (920 participants) consisted of a confirmatory factor analysis (CFA) used to test the fit and compare the suitability of the 2 factorial solutions with alternative models. The 2-factor model exhibited good and acceptable indices of fit. The factors represented Innovativeness and Adaptiveness. This model was called Two Tracks of Thought (TTT). Its structure suggests the importance of both non-conventional and conventional thinking for the creative process.

Problem Space Matters: The Development of Creativity and Intelligence in Primary School Children

Previous research showed that in primary school, children’s intelligence develops continually, but creativity develops more irregularly. In this study, the development of intelligence, measured traditionally, i.e., operating within well-defined problem spaces (Standard Progressive Matrices) was compared with the development of intelligence operating in ill-defined problem spaces (Creative Reasoning Task) and the development of creativity (Test of Creative Thinking-Drawing Production), in primary school children (N = 175) across four grade levels. Results showed that problem space matters: Traditional intelligence test scores increased regularly with grade level, whereas creativity, as well as intelligence operating in an ill-defined problem space, developed irregularly but similarly. This suggests that when creativity is fostered, intelligence’s ability to operate in ill-defined problem space may be fostered, likewise.

An Investigation of the State of Creativity and Critical Thinking in Engineering Undergraduates

The goal of an undergraduate engineering education is to provide students with the necessary knowledge and skills needed to solve real world problems. Creativity and critical thinking are two abilities essential for success in the workplace, and are highly sought after by employers. However, there is evidence of decreasing creativity and critical thinking in senior engineering students. This study sought to understand if freshman engineering students are measurably more creative, but less capable of critical thinking, than senior undergraduate engineering students. Creativity and critical thinking were measured using the Test for Creative Thinking-Drawing Production (TCT-DP) and the Watson-Glaser Critical Thinking Appraisal (WGCTA), respectively. The data suggest that freshman engineering students were significantly more creative than senior engineering students. However, senior engineering students were found to be no better at critical thinking than their freshman counterparts. When compared to normative data, the senior engineering students underperformed significantly compared to the general population of senior college students. With study limitations in mind, these findings may suggest that senior engineering students are not only less creative, but also less capable of critical thinking, than when they started their engineering program. If this is indeed the appropriate conclusion, then there is a need to understand the underlying issues driving the decline of creativity and critical thinking in engineering undergraduate students.

Greater male variability in creativity: A latent variables approach

Although gender differences do not usually exist when it comes to creative potential, males do exhibit a higher variability of creative ability: the effect that may result in more males than females having both very low and very high creative potential. Two studies examined the greater male variability in creativity hypothesis (GMVC): a cross-sequential investigation conducted on a sample of children (4–7 years old; N=351) over the span of two years and a cross-sectional study conducted on a sample diverse in age (6–46 years old; N=3594). In both studies, the Test of Creative Thinking-Drawing Production (TCT-DP; Urban & Jellen, 1996) was used, but unlike previous research, data were analyzed using the latent variables approach: latent growth curve modeling (Study 1) and exploratory and confirmatory factor analyses (Study 2). Greater male variability of creative ability was found across studies and age groups, but while this pattern was characteristic for some aspects of creative ability (originality and unconventionality), higher female variability was observed in the case of the other aspects (adaptiveness).

Criatividade e estilos de pensar e criar em futuros gestores músicos e arquitetos

Resumo Pretende-se caracterizar e comparar os níveis de criatividade e os estilos de pensar e criar de uma amostra de 210 estudantes universitários dos cursos de Gestão, Arquitetura e Música, atendendo ao seu gênero e idade, bem como, analisar a possível correlação entre ambos. O Test for Creative Thinking - Drawing Production e a versão Portuguesa da Escala de Estilos de Pensar e Criar operacionalizaram as variáveis em estudo. A análise das diferenças entre médias mostrou que os estudantes de Arquitetura apresentam níveis de criatividade superiores comparativamente aos estudantes de Gestão. No que se refere aos estilos de pensar e criar, apenas o grupo etário entre 18 e 24 anos se revelou como mais Cauteloso/Reflexivo. O estudo das correlações aponta para uma correlação negativa significativa entre os níveis de criatividade e o estilo Cauteloso/Reflexivo para a totalidade da amostra e uma correlação positiva significativa entre os níveis de criatividade e o estilo Inconformista/Transformador, nos estudantes de Gestão.

The Effectiveness of SCAMPER Technique on Creative Thinking Skills

Current study assumes that SCAMPER is a convenient technique to develop creative thinking skills. In this respect it is aimed in the study to investigate the effect of SCAMPER on developing creative thinking skills. For this purpose, the main research question is: How much is SCAMPER effective in increasing sophomores’ Test for Creative Thinking - Drawing Production (TCT-DP) scores? A one-group pretest-posttest design was used in this study. A total of 14 participants were assigned to receive the experimental training. A unique program developed by the researcher for the experimental group. The findings of the study reveal that SCAMPER training significantly increased TCT-DP scores.

Creative attitude in a group of youths gifted in the domain of science subjects

<b>Background</b><br /> We attempted to assess whether students identified by their teachers as gifted in the domain of science are characterised by significantly higher levels of intelligence and creativity than other students. We investigated the features of their personalities that are indicators of their exhibited creative or reproductive attitude in the cognitive and the motivational domains. As a consequence, criteria will be developed for identifying gifted students.<br /> <br /> <b>Participants and procedure</b><br /> Ninety-seven students, aged 13-17, took part in the study. The students were previously identified by their teachers as gifted. Levels of intellectual functioning were assessed using a battery of tests for diagnosing intelligence (APIS-P) and Raven’s Standard Progressive Matrices (SPM). Creativity was estimated using the Test for Creative Thinking – Drawing Production (TCT-DP), and creative attitude was assessed using the KANH questionnaire.<br /> <br /> <b>Results</b><br /> Analysis of the results revealed that students nominated by their teachers scored significantly higher than their peers in general intelligence and creativity tests. Moreover, they were characterised by a more frequent choice of heuristic behaviours in the cognitive domain and nonconformity in the motivational domain. Additionally, there was a statistical trend a general creative attitude among the nominated students.<br /> <br /> <b>Conclusions</b><br /> We found that gifted students scored high on general intelligence and creativity tests. Consistency between the teachers’ nominations and our results indicates that the criteria for identifying gifted students are appropriate. Moreover, instructing teachers about a creative attitude helped them to also identify gifted students with higher levels of nonconformity and who create their own heuristics for behaviour. These characteristics are valuable for innovative activity, which is what programmes for gifted students try to encourage.

Intelligence and Creativity: Over the Threshold Together?

Threshold theory predicts a positive correlation between IQ and creativity scores up to an IQ level of 120 and no correlation above this threshold. Primary school children were tested at beginning (N = 98) and ending (N = 70) of the school year. Participants performed the standard progressive matrices (SPM) and the Test of Creative Thinking—Drawing Production (TCT-DP). Each child with IQ ≥ 120 was grade-and-gender matched to a child with IQ < 120. Results in accordance with the threshold theory were found only for female children in the highest grade level (Grade 4). Longitudinal analysis implies that a subgroup of children goes down in IQ and creativity simultaneously, possibly due to motivational issues. Their correlated scores may be a source of evidence for the threshold theory. The relationship between intelligence and creativity is not straightforward and depends on a combination of factors including grade level and gender.

Assessing creative potential as student outcome: On the applicability of the TCT-DP in repeated measures

Within a constantly changing society, the ability to act creatively in various domains is becoming increasingly important. Schools are expected to react to this by educating their students in complex problem-solving skills and creative thinking (OECD, 2014). Teachers are therefore asked to foster creativity, which implies a need to learn more about assessing creativity or creative potential. When evaluating programs that are designed to foster creativity in and out of school, it is necessary to assess creativity as a criterion, even though this is a challenging thing to do. The difficulties become particularly apparent when it comes to investigating creativity development. The present study uses the Test for Creative Thinking-Drawing Production (Urban & Jellen, 1996) to take a closer look at the measurability of creativity during childhood. German students were tested three times while at elementary school (at the beginning of the first grade and at the end of the second and fourth grade). We tested measurement equivalence and found partially strong measurement invariance in a subset of the rating categories suggested in the test’s manual. The proposed model is discussed theoretically and empirically, while keeping in mind that it is essentially a preliminary finding until replication studies have been conducted. The study indicates how creativity could be taken into account as a relevant student outcome in large-scale assessments.

IS THERE A LINK BETWEEN CREATIVITY AND SCHOOL GRADES?: RESEARCH WITH 9TH GRADE STUDENTS

Background and Purpose . The present study aimed to explore the relationship between creativity and school grades. Material and Methods. Creativity was meas- ured by the Test for Creative Thinking – Drawing Production (TCT-DP) (Urban & Jellen, 2010). The participants (sample) consisted of 180 ninth grade students (104 females) with mean age of 15.1 years. Results. Both boys and girls with higher creative potential score in TCT-DP showed higher average school grade. The tendency was depicted that school grades in the subjects of natural sciences (except in geography) and arts relate most closely to creativity. Although no significant gender differences were found in any of the subjects, boys tended to show higher correlations. The general trend in the relationship between separate TCT-DP criteria and school grades is that the ability to draw a picture with strong expressive power, to make additions to the used elements, to compose a theme or gestalt of the given elements and to break away from two- dimensionality is significantly related to the average school grade independently of the gender. Conclusion. The results give grounds for further exploration of students’ creativity in relation to the academic performance assessed by teachers.

Investigation of Psychometric Properties of the Test for Creative Thinking—Drawing Production: Evidence from Study in Latvia

The Test for Creative Thinking—Drawing Production (TCT‐DP) is designed as an effective drawing‐based instrument for measuring creative potential. Many studies report adaptation efforts in other cultures pointing out good psychometric properties of the instrument nonetheless revealing also some trouble spots. The present study includes adaptation of TCT‐DP in Latvia and investigation of psychometric properties of the instrument such as measurement invariance between forms, sequence effect, gender differences, and factor structure of criteria employing methodology of structural equation modeling. Two samples were involved in the study—9th‐grade students (n = 300) and 15‐year‐old 9th‐grade students (n = 200). Results indicate that trained judges are able to achieve high reliability in evaluation of TCT‐DP total score and all criteria if some criteria are divided into subcategories. It was also found that TCT‐DP has measurement invariance between both forms but has small effect sizes regarding gender differences and method sequence. Observed differences of TCT‐DP total scores between the Latvian sample and relevant samples from Germany and Hong Kong could be considered as trivial. The study also revealed that, following original instructions, some test criteria had strong interdependence and therefore strategies in the evaluation process reducing interdependencies between criteria should be considered in future studies on the structure of TCT‐DP.

受HIV/AIDS影响的青少年群体之创造力潜能

以绘图式创造性思维测验(TCT-DP)探讨受HIV/AIDS影响的青少年群体之创造力潜能。被试为44名湖北农村12~18岁受HIV/AIDS影响的青少年，其中16名为HIV感染者，28名为来自受HIV/AIDS影响的家庭之非感染者。结果显示，被试的TCT-DP总分平均为21.66(SD = 6.57)，与以往研究中城市青少年的TCT-DP得分水平相当；HIV感染组(M = 21.88, SD = 6.08)与非感染组(M = 21.54, SD = 6.95)差异不显著。据此，两类受HIV/AIDS影响的青少年群体在创造力潜能上并不逊于普通青少年群体，他们在受教育和发展上处境不利的状况理应得到改善。 To investigate the creative potentials of HIV/AIDS-affected adolescents, the Test for Creative Thinking – Drawing Production (TCT-DP) was applied to forty-four 12 - 18 years old adolescents in rural areas of the Hubei province. Sixteen are HIV-infected; twenty-eight are non-infected but they come from HIV/AIDS-affected families (i.e., one or both parents are living with HIV/AIDS, or died of AIDS). The results showed that participants’ average composite score on TCT-DP was 21.66 (SD = 6.57), which is comparable to that of the urban adolescents in previous studies. The difference in TCT-DP composite score between the HIV-infected group (M = 21.88, SD = 6.08) and the non-infected group (M = 21.54, SD = 6.95) was not significant, nor was there any significant difference between the groups with and without learning difficulties. Girls performed significantly better than boys in the TCT-DP composite score and the subscale of “New elements”. It is worthy to note that the creative potentials of the HIV-infected adolescents can be as good as their non-infected counterparts who come from HIV/AIDS-affected families. Furthermore, the creative potentials of the adolescents infected with or affected by HIV/AIDS are not inferior to those of the adolescents in the general population. The disadvantageous conditions of their education and development need to be improved.

A study of the greater male variability hypothesis in creative thinking in Mainland China: Male superiority exists

This study tested the greater male variability hypothesis in creative thinking with a Chinese student sample in Mainland China. The Test for Creative Thinking-Drawing Production (TCT-DP) was administered to 627 Chinese adolescent boys (n=332) and girls (n=295). Results using the boy/girl variance ratio (VR) generally supported the hypothesis that boys have greater variability than girls in creativity test performance. However, results using the boy/girl ratios from different regions of the creativity score distribution revealed a pattern of male superiority. While boys significantly outnumbered girls in the higher extremes, girls tended to outnumber boys in the central region and the lower extremes. Results from an analysis of the means lent further support to the findings of male superiority. Plausible explanations for greater male variability and male superiority in Mainland China are proposed. The theoretical and practical implications of the findings are discussed.

The Test for Creative Thinking: An authentic tool for art education to assess creativity through visual expression

This article introduces a creativity test, an authentic and flexible assessment instrument that invites participants to create a meaningful image out of a set of visual signs. The elements offered for completion, repetition, modification, inclusion and composition are not culturally biased and invite the use of a variety of drawing styles. This test has been successfully used by art educators to identify talented students for enrolment in special courses and also by teachers who want to know more about the creative potentials of students who are verbally less fluent and therefore are not successful at school. In this article, we discuss the general findings of the Test for Creative Thinking/Drawing Production (TCT/DP) that was administered between 2000 and 2010 to 1050 children and young people aged 7-18 years during the course of the national standardization of this instrument. We compare two generally known and often discussed models of visual skills development created by Victor Lowenfeld, Howard Gardner, Ellen Winner and Jessica Davis in relation to the test results obtained from a comparison of Hungarian and German children. We focus on important issues of art education: cognitive growth manifest in visual language use, the issue of the 'drawing gap' in adolescence and the use or uselessness of developmental stages in relation to artistic performance.

Threshold hypothesis: Fact or artifact?

The threshold hypothesis (TH) assumes the existence of complex relations between creative abilities and intelligence: linear associations below 120 points of IQ and weaker or lack of associations above the threshold. However, diverse results have been obtained over the last six decades – some confirmed the hypothesis and some rejected it. In this paper the threshold hypothesis was examined on a large sample of middle and high school Polish students (N=921). Intelligence was measured by Raven's Progressive Matrices (RPM) and creative abilities by the Test for Creative Thinking–Drawing Production (TCT-DP). Results were analyzed as raw test scores, Item Response Theory (IRT) scores and Confirmatory Factor Analysis (CFA) scores to examine three thresholds (+.50 IQ SD, +1 IQ SD, +1.33 IQ SD). It was found that confirmation or rejection of the TH depends strongly on both an analytical strategy and theoretical decisions required for acceptance/rejection of the TH. If significant correlations between intelligence and creative abilities below the threshold and non-significant correlations above the threshold are treated as confirming the TH, such confirmation is observed at 115 points on the IQ scale. However, if confirmation requires higher correlations below the threshold than above it, the TH is less likely to be confirmed. We discuss theoretical and empirical issues which may lead to the conclusion that threshold hypothesis may actually be an artifact of data analysis.

Creativity and school grades: A case from Poland

The goal of this study was to describe the relationship between the creative abilities and the school grades of high school students in Poland. Almost six hundred (N=589) students from 34 high schools from all over Poland participated in the study. Their creative abilities were measured by using the Test of Creative Thinking-Drawing Production (TCT-DP), and the school results were measured by GPA. Students’ intelligence level (as measured by the Raven's Progressive Matrices) and their gender were controlled. The analyses were based on OLS regressions as well as on multilevel models controlling for grouping students into classes. It was shown that creative abilities are not correlated with students’ GPA, yet the multilevel control of grouping students into classes demonstrated interesting and potentially important differences. In some schools, the relations were positive, strong and statistically significant, while in others they were non-existent or negative. The role of creative abilities for GPA was greater in larger schools and in schools located in big cities. We discuss the possible reasons for and consequences of our findings.

Studies of the Turkish form of the Test for Creative Thinking-Drawing Production

This paper explains the results of multi-year applications of the Test for Creative Thinking-Drawing Production in a Turkish context with Turkish participants. The purpose of the study is to present the results of several empirical studies conducted by different Turkish samples, using the instrument which was developed by Jellen and Urban for measuring the creative thinking potentials of individuals. The number of the subjects of all the studies described here totaled to 1529. These participants were of various ages and at various levels of ability, and they included primary school students, university students, and adults, as well as 369 gifted students, and 64 subjects with neurological problems. The author introduces the evaluation procedures, discusses the culturally fair characteristics of the test, and makes a case for the utility of the instrument in Turkey with a comparison of existing data in the literature related to the instrument.

Gender differences in creative thinking revisited: Findings from analysis of variability

This study investigated gender differences in creativity among 985 schoolchildren (499 boys, 486 girls) by analyzing both means and variability. A relatively new creativity test, the Test for Creative Thinking-Drawing Production (TCT-DP), was employed to gain a more refined understanding of gender differences in creativity using a gestalt approach. Whereas the results of analyses of means generally supported the Gender Similarities Hypothesis, the variability analyses tended to support the Greater Male Variability Hypothesis and the Gender Difference Hypothesis. Analyses of the TCT-DP subscales revealed that both genders have their relative strengths and weaknesses in creative thinking. Whereas girls outperformed boys in thoroughness of thinking, boys outperformed girls in boundary-breaking thinking. Variability analyses further showed that more boys clustered in the two extremes of the composite score. Significantly greater variability was found for males on five criteria of the TCT-DP. The educational implications of such a complex pattern of gender differences are discussed. With a view to searching for an explanation for gender differences, several lines of further research are proposed.

It doesn't hurt to ask…But sometimes it hurts to believe: Polish students' creative self-efficacy and its predictors.

This study examined predictors of creative self-efficacy (CSE) within a large sample (N 1,878) of Polish school students. Results indicate that creative self-efficacy is significantly predicted by creative abilities (measured by Test of Creative Thinking-Drawing Production) as well as self-reported originality, with 12% of the creative self-efficacy variance predicted by these criteria. Analysis of the potential antecedents of creative self-efficacy showed that it is connected with gender, socioeconomic status, and locality size. Socioeconomic status (SES) was a positive predictor of CSE. Male students were characterized by higher self-efficacy than female students and they also tended to overestimate their creative self-efficacy as predicted by abilities. In turn, females underestimated their creative self-efficacy. Socioeconomic status moderated the relations between creative abilities and creative self-efficacy, with stronger associations between abilities and efficacy in high SES groups.