Some information about test of creativity which is used by researcher world wide

1. Capturing Creativity:
TCT-DP
Test for Creative Thinking / Drawing
Development
Klaus Urban (Hannover University, Germany)
Hans Jellen (University of California)
Andrea Kárpáti
Fulbright Research Scholar
at NIU, School of Arts
ELTE University, Budapest,
Hungary
karpatian@t-online.hu

2. The Creative Person:
Motivation and attitudes
Creatrix Inventory (C & RT) (Byrd, 1986)
Reproducer
Modifier
Challenger
Practicalizer
Innovator
Synthesizer
Dreamer
Planner
Creativity tests measure
specific cognitive
processes such as thinking
divergently, making
associations, constructing
and combing broad
categories, or working on
many ideas
simultaneously.
8 styles:

4. Creativity is the result of
the relation between
 the person that is marked as
creative,
 the evaluator who provides that
judgment
 the social context in which
evaluation happens.
(Westmeyer, 1998)

5. Sternberg Triarchic Abilities Test (STAT)
Creative skills -
performance tasks
Written and oral
stories
Stories are rated on 5
points scales for:
• Originality
• Complexity
• Emotional
evocativeness
• Descriptiveness
(Sternberg, 2006)

6. Torrance Tests of Creative Thinking
(TTCT) (Torrance, 1966~1999)
”Thinking Creativity with Words”
Six verbal activities:
1. Asking
2. Guessing Causes,
3. Guessing Consequences,
4. Product Improvement,
5. Unusual Uses,
6. Unusual Questions,
7. Just Suppose.
• Scores on three dimensions:
Fluency, Flexibility and Originality.

7. Creative Product Semantic Scale
(Besemer and O’Quin, 1987):
Novelty: original, surprising
and germinal
Resolution: valuable, logical,
useful, and understandable
Elaboration and Synthesis:
organic, elegant, complex,
and well- crafted)

9. Torrance Tests of Creative Thinking (TTCT)
(Ellis Paul Torrance, 1966-1999)
• Drawing task: ”Thinking Creativity with Pictures”
• Three figural activities:
– Picture Construction
– Picture Completion,
– Lines/Circles.
• Scores on five
mental characteristics:
– Fluency
– Originality
– Elaboration
– Abstractness of Titles
– Resistance to
Premature Closure.

13. Test for Creative Thinking-Drawing Production
(TCT-DP - Urban-Jellen, 1993)
An incomplete drawing
containing 5 elements in a
large square frame:
1. semi-circle,
2. right angle,
3. point,
4. curved line,
5. dashed line),
6. small open square
(located outside the square
frame)
Test sheet A
Test sheet B

14. Test sheet „A”Test sheet „A” Test sheet „B”Test sheet „B”
Same elements, rotated with 180 degrees

15. Test sheetTest sheet
„A”„A”

16. Test sheet „A” solutionsTest sheet „A” solutions

17. Test sheetTest sheet
„B”„B”

18. Test sheet „B”Test sheet „B”
solutionssolutions

19. Evaluation criteria
 Continuation, (Cn)
 Completion, (Cm)
 New Elements, (Ne)
 Connections made with Lines, (Cl)
 Connections that Contribute to a Theme, (Cth)
 Boundary-breaking being Fragment-dependent, (Bfd)
 Boundary-breaking being Fragment–independent,(Bfi)
 Perspective, (Pe)

20. „A” test sheet
Continuation

21. „A” test sheet
Completion

22. „A” test sheet
CompletionCompletion
(with text)

23. „A” test sheet
New elements

24. „A” test sheet
Connections
made by lines

25. „A” test sheet
Connections
made by
theme

26. „B” test
sheet
„A” test
sheet
„A” test
sheet
„A” test
sheet

27. „A” test sheet
Boundary-breaking,
Fragment independent

28. „A” test sheet
Boundary-breaking,
Fragment independent

29. „A” test sheet
Perspective

30. „B” test sheet
Perspective

31. Unusual scoring criteria
 Humor or Affectivity /Emotionality/ Expressive Power
of the drawing, Hu)
 Unconventionality, (Uc) in the use of tools or
paper
Sebesség (Speed, Sp) is only assessed if drawing is
near or above average

32. A” test sheet
Humorous or
emotional
qualities

33. A” test sheet
Humorous or
emotional
qualities

34. „A” test sheet
Humorous or
emotional
qualities

35. A” test sheet
Humorous or
emotional
qualities

37. A” test sheet
Unconventional
solution

38. A” test sheet
Unconventional
solution

39. A” test sheet
Unconventional solution

40. „„A” test sheet
Unconventional solution

41. Conventional
solution

42. „A” test sheet
Conventional
solution

43. „A” test
sheet
„A” test
sheet
„A” test
sheet
„B” test
sheet
Solutions in different drawing styles

44. Solutions in different
drawing styles

45. Solutions in different
drawing styles

47. Coloured solutions

48. Coloured solutions

49. Coloured solutions

50. Tanja, aged 14
I drew a bear standing on two legs and playing
with a ball. He throws the ball over a very low
tree, low as he himself. But that tree in fact is not
small, but he is very big, the biggest bear alive.
Lonely, without company, he goes to take his ball
that he made in order to be big enough for him.
The bear, a dangerous animal, and in addition to
that if he is the biggest in the world, cannot make
friends as some other kinds of animals. He
remains alone with his ball.
TCT-DP and
narrative
about image

52. Example No. 1: LIVING ROOM
(Jana, girl, aged 13)
In my grandma’s house, on the ground floor, there is a room that I will always remember. In that
room, playing, I spent the first years of my childhood, and that is why I have nice memories about
it.
I made my first steps in it, spoke my first words and learned to recognise colours and shapes. In
my favourite corner, there was a big blue armchair where my granny often sat and told me
bedtime stories, swinging me gently in her lap. I would also usually fall asleep there together with
my granny, and woke up again the next day in her warm embrace. In front of it there was a shelf
with the picture of me, my mom and dad and a big lamp. I had always loved that lamp. While I
was young, my dream was to grow tall enough and reach for that lamp. Next to it, there was a big
picture of a girl praying for something. I kept asking granny who was in the picture, but she just
smiled mysteriously. Beneath it was a small table where there were always fresh flowers picked in
our garden.
Today when I enter the room, only the most beautiful memories stir inside of me. I slowly walk on
the black-and-white tiles and come closer to the lamp on the shelf. I remember my childhood
dream and light it with a smile.

53. Results of Hungarian sample– Test Sheet „A”
(Kárpáti, A. and Gyebnár, V., 1993-95)
Results (means), Test sheetResults (means), Test sheet
„A”„A”
N (N (total sampletotal sample) = 1037) = 1037
AgeAge

54. A magyar vizsgálati minta eredményei – B / lap
(Kárpáti A. és Gyebnár V., 1993-95)
Results (means), Test sheet „Results (means), Test sheet „ BB””
N (total sample) = 803N (total sample) = 803
AgeAge

55. Simultaneous verbal and graphic
use of TCT-DP
Study: Qualitative Analysis Of Creative Products Of
Primary School Pupils by Slavica Ševkuši * & Slavicać
Maksi , Institute for Educational Research, Belgrade,ć
Serbia
Pupils wrote a story about the drawing as their
solution of TCT-DP
Connections revealed between the tale, indicator of
verbal creativity, and scores obtained on TCT-DP,
indicator of graphic creativity.

56. Qualitative story analysis
 could be valid method of measuring creativity
and that it can be used as a way to improve the
quantitative measures of creative products of
pupils.
 contributes to the more complete description
of a creative product than quantitative
measures, because it shows the variety and
richness of the components involved in a
creative product.

57. Method: Narrative analysis
Narrative analysis is scientific procedure of studying
language structures based on the assumption that objects
of reality are grounded in language, its structures and
grammar as well as the ways of its usage.
Evaluation: searching for creative format of the
story, meanings and components that were built in it,
which could point out to the creative expression of
pupils.

58. Criteria are applied most often:
• who are the characters
• whether the text has the beginning, the middle and the end
• whether it is oriented towards the past
• whether it has a linear sequence
• whether it has a plot
• whether it makes sense to the person telling it
• variations that can raise the tension in the story
(Denzin, 1989).

59. Evaluation of the stories (N=151)
The creativity of stories was evaluated independently
by 2 qualified evaluators (a psychologist and a
pedagogue).
1. Using global-synthetic approach (based on the first
impression), 20% of stories was singled out (1st
evaluator), that is, 30% (2nd evaluator).
2. Through discussion and clarification of meanings,
evaluators singled out 14 most creative stories,
which comprises nearly 10% of evaluated stories.

60. Structure of results
1) Characteristics of linear and non-linear
format of the story;
2) Creative components of stories in both
formats;
3) The link between evaluation of story
creativity and scores obtained on TCT-DP.

61. Linear format of the story
• linear timeline
• regular, expected sequence of events
• participants are most often people
• events are oriented towards the past
• good composition (part-whole ratio;
introduction, elaboration and conclusion)
• type: once upon a time...

62. Creative components
of linear format
– detailed, rich descriptions
– elegant sentences, stylistic figures of speech
– creating atmosphere, emotional experiences
– responding to the “topic”
– successfully guided narration
– taking a moral stand (what good is, what
happiness is...)

63. Example No. 1: LIVING ROOM
(Jana, girl, aged 13)
In my grandma’s house, on the ground floor, there is a room that I will always remember. In that
room, playing, I spent the first years of my childhood, and that is why I have nice memories about
it.
I made my first steps in it, spoke my first words and learned to recognise colours and shapes. In
my favourite corner, there was a big blue armchair where my granny often sat and told me
bedtime stories, swinging me gently in her lap. I would also usually fall asleep there together with
my granny, and woke up again the next day in her warm embrace. In front of it there was a shelf
with the picture of me, my mom and dad and a big lamp. I had always loved that lamp. While I
was young, my dream was to grow tall enough and reach for that lamp. Next to it, there was a big
picture of a girl praying for something. I kept asking granny who was in the picture, but she just
smiled mysteriously. Beneath it was a small table where there were always fresh flowers picked in
our garden.
Today when I enter the room, only the most beautiful memories stir inside of me. I slowly walk on
the black-and-white tiles and come closer to the lamp on the shelf. I remember my childhood
dream and light it with a smile.

65. Non-linear format of the story
• sequence, meanings and logic of events are irregular,
unpredictable or unclear
• events are placed in the future
• sudden, dramatic turns, unexpected resolution
• there is a tension between text elements (for example,
between the title and the story)
• participants are often imaginary creatures or animals
• participants have non-stereotypical thoughts, feelings
and behaviour

66. Creative components
of non-linear format
- existence of unreal
- connecting the non-connectable
- unusual, non-stereotypical solutions
- atypical word meaning, neologisms
- multi-perspectiveness
- humour
- taking a critical attitude (what is not good,
what could be better)

67. Tanja, aged 14
I drew a bear standing on two legs and playing
with a ball. He throws the ball over a very low
tree, low as he himself. But that tree in fact is not
small, but he is very big, the biggest bear alive.
Lonely, without company, he goes to take his ball
that he made in order to be big enough for him.
The bear, a dangerous animal, and in addition to
that if he is the biggest in the world, cannot make
friends as some other kinds of animals. He
remains alone with his ball.
TCT-DP and
narrative
about image

68. The link between evaluation of story creativity &
scores obtained on TCT-DP
Analysis of variance
factor – the group chosen according to the
evaluation of the story by 2 evaluators;
dependent variable – total score on TCT.
There is a significant statistical
difference between the groups by
Mean on TCT-DP.

69. Table 2: M and S.D. on TCT-DP score
for creative and non-creative story writers
Groups N Mean Std.
Deviation
Non-creative
Creative
Total
137
14
151
25.9051
35.7143
26.8146
10.96108
12.14292
11.39556
F=9.98 Df=1,149 Mse=122.53 P=0.002

70. Results of qualitative analysis
indicate that…
• essential characteristics of creativity are recognised in
larger measure in non-linear format and its components,
while the influence of school curriculum as the context in
which creativity is encouraged is perceived in the linear.
• significance of broader conception of creativity which is
defined as the novel and personally meaningful
interpretation of experiences, actions, and events
(Beghetto & Kaufman, 2007).

71. Conclusions
• It is difficult to explain why something was evaluated as “creative”,
and something else as “non-creative”.
• It is difficult for different evaluators to have the same relation
towards the actual product if they are guided by the defined criteria,
because the characteristics of an actual product never exactly match
the previously planned categories.
• It is more useful for evaluation of a creative product to clarify the
subjective meanings of independent evaluators and to reach an
agreement on these meanings for an actual product, than the
previously developed criteria for evaluation of creativity.

72. Some implications for
school syllabus
• The need for introducing creative writing
as a special subject in, with the aim of
nurturing pupils’ creativity.
• Pupils to get introduced with different
narrative formats and components of
creative writing (the linear narrative
format is encouraged in a larger degree in
school).