The aim of the paper is to holistically explore ideation as a part of visual artists' creative processes. The study focuses on how various sources of information are integrated into visual artists' ideation for their future artworks.
Our research is based on 15 qualitative interviews with visual artists. Data was analysed with content-driven thematic analysis.
We identified four primary sources of ideation from our dataset: (1) observation, (2) self-created, (3) experimenting, and (4) self. We examined the sources of ideation and their relations within four dimensions: the external and internal worlds, intentionality, and serendipity.
This study represents the use of various types of information sources for artistic ideation and defines a previously underexplored category “Self” that relates to using personal experiences, visual ideas and imagination as source of ideation.
Introduction
Visual artists integrate various information sources into their creative art processes. Engaging with information in artistic work is a complex, multidimensional phenomenon that has been studied from the perspective of artistic processes (Cobbledick, 1996; Cowan, 2004; Hemmig, 2008, 2009; Mason and Robinson, 2011; Ruotsalainen, 2012) and artists' personal life experiences (Gorichanaz, 2020). To create an artwork, information sources, both traditional and digital mediums, are utilized (Kolyvas and Kostagiolas, 2024). The process of informing and inspiring visual artists frequently involves direct observation, note-taking, collecting materials and images, style identification, movement, pattern, and texture analysis, as well as experimentation with various materials and techniques (Kolyvas and Kostagiolas, 2024).
Ideation is an inherent part of the creative art process that evolves through observing, experiencing, thinking, and processing, including periods of apparent inactivity. It functions as a trigger and driver for the artistic process: as a trigger, it is starting the process, and as a driver, it is keeping it going and advancing the process. Even periods of inactivity and allowing space for new thoughts can advance the art process (Houessou, 2010; Kallio, 2019). Gorichanaz (2019) demonstrated that taking breaks and stepping back were crucial parts of the visual artists' creative process. Generating and developing ideas for artistic expression encompasses looking for a great variety of new information sources to get inspired (e.g, Lee and Haddow, 2017). When interacting with an information source the visual artists orient themselves to informational objects and interpret their meaning (Gorichanaz, 2020). The source of ideation in the present study means an information source that the visual artists use for the purposes of creative artistic processes. When artists interact with a source of ideation, the source helps to fulfil an information need that can function as a trigger for the artistic process, a “root factor”, or as a driver that keeps the artistic process going or evolving further (cf. Savolainen, 2017; Byström and Kumpulainen, 2020).
However, despite that the ideation is central to the artistic processes, the sources that are used specifically during the ideation have not been studied. Therefore, we aim contributing to the topic by examining the sources of ideation in creative artistic processes. To examine the phenomenon, we focus on the following research questions:
What kind of sources of ideation do the visual artists utilize?
What are the distinct characteristics of the sources of ideation?
To answer the research questions, we analysed 15 interviews with professional visual artists by content-driven thematic analysis. Next, we will discuss related research on visual artists' information seeking and ideation. Then, we present the research design and methods. Following this, we outline the study's findings by delving into addressing the research questions. Finally, we provide a discussion and summary, as well as suggest topics for further research.
Background
Visual artists' information seeking
Active information seeking has been identified as a significant catalyst for artistic creativity (Sawyer, 2011). Artists engage in information-seeking activities for various purposes, including drawing inspiration, identifying specific visual elements, acquiring knowledge of materials and techniques, learning marketing strategies, securing employment opportunities, obtaining career guidance, and staying informed about current trends in the art world (Cobbledick, 1996; Hemmig, 2008, 2009). Therefore, access to relevant information, as well as the effective management and utilization of information, is essential for visual artists to enhance their creative practices and to create visual works (Cobbledick, 1996).
Several studies have examined artists' information-seeking behaviour (Cobbledick, 1996; Hemmig, 2009; Cowan, 2004; Robinson, 2014; Lee and Haddow, 2017), focusing mainly on information acquired from external sources. These sources encompass conventional resources such as galleries and museums, scholarly publications, digital art websites, informal online channels, libraries, personal collections, and colleagues and professional social networks (Kolyvas and Kostagiolas, 2024). Moreover, artists also place considerable value on personal collections, which they systematically store, organize, and manage for future reference (Krtalić and Dinneen, 2022).
Although the majority of research has concentrated on traditional information sources, some studies have underscored the diverse nature of information, highlighting the role of personal life experiences and embodied knowledge in the creative process of visual artists (Cowan, 2004; Gorichanaz, 2020; Zreik et al., 2021). According to Gorichanaz (2020), this form of information includes memories, lived experiences, and interactions with one's environment, thereby emphasizing the concept of information as experience. Moreover, artistic work can be significantly influenced by live performances, political contexts, philosophical texts, and personal emotional states (Cowan, 2004; Zreik et al., 2021).
Along with the digitalization of society, artists have transitioned from print-based sources to online resources (Larkin, 2010; Münster et al., 2018). However, many artists continue to prefer certain sources in print format and remain active library users (Beaudoin and Brady, 2011; Krtalić and Dinneen, 2022; Mason and Robinson, 2011). Indeed, libraries, both as physical and social spaces, can serve as sources of inspiration, fostering deeper engagement with artistic creation (Patelos, 2013). There has also been an extensive research tradition addressing the information behaviour of visual artists from the perspective of library usage (Hemmig, 2009; Kolyvas and Kostagiolas, 2024).
Information seeking within ideation
The creative process of producing artwork comprises multiple phases from ideation to publishing or presenting the work (Kolyvas and Kostagiolas, 2024). Individuals employ varying strategies and exhibit diverse information-seeking behaviours at different phases of their work process (Kuhlthau, 1993; Vakkari, 2001). Consequently, this necessitates the holistic and comprehensive investigation into information-seeking behaviour in the specific phase of the process (Case and Given, 2016).
The creative process begins with the transformation of an idea into a creative work of art (Kolyvas and Kostagiolas, 2024). Ideation is defined as a process of generating or forming ideas, often involving mental imagery or conceptualization of things not directly perceived through the senses (Oxford Reference). Notably, ideation within visual artists' creative processes form the foundation of artistic creation. This process is dynamic and shaped by both the artist's internal world—comprising thoughts, emotions, and the subconscious mind—and external influences, including their environment, cultural context, and social interactions (Botella et al., 2018).
In their search for inspiration, visual artists utilize a diverse range of sources, encompassing both conventional and digital mediums (Lee and Haddow, 2017). The external world serves as a catalyst for artistic creativity, offering stimuli that can generate new ideas or refine existing ones. This includes physical surroundings, social interactions, and cultural influences that shape an artist's creative vision (Samaniego et al., 2024). The ideation frequently involves direct observation of the external world through activities such as reading books and magazines, taking notes, collecting materials and images, analysing movement, patterns, and textures, and experimenting with various materials and techniques (Cobbledick, 1996; Beaudoin, 2014; Hemmig, 2009; Gorichanaz, 2020; Robinson, 2014; Sawyer, 2011). Additionally, other people can serve as sources of ideation. For instance, Robinson (2014) identifies “interactions with people” as a crucial element in the artistic process.
Conversely, the internal world—comprising personal experiences, memories, and emotions—profoundly influences an artist's creative output (Ruotsalainen, 2012). Several studies have explored the role of the inner world in artistic ideation (Cobbledick, 1996; Cowan, 2004; Gorichanaz, 2020; Hemmig, 2009). This internal domain is often conceptualized as either “abstract” or rooted in “personal life experiences,” encompassing elements such as dreams, memories, imagination, and significant life experiences (Gorichanaz, 2020; Mason and Robinson, 2011; Ruotsalainen, 2012).
The artists' intention is an important part of ideation (see Cobbledick, 1996; Hemmig, 2009). Intentionality in art refers to the deliberate and purposeful aspects of the creative process. This intentional aspect guides their choices in terms of medium, technique, and subject matter (Csikszentmihalyi, 1996). Intentionality in visual artists' work is a multifaceted concept that encompasses the deliberate choices and decisions made by artists during the creative process. On the other hand, as Ruotsalainen (2012) demonstrated, ideation may also incorporate seemingly aimless activities, and ideation requires a certain amount of time, sometimes a long time. However, there seem to be some level of intention behind each piece of work.
Not all information seeking is intentional; serendipity plays a crucial role in the artistic process. It involves the occurrence of unexpected and fortunate discoveries that can lead to an insightful “aha” moment resulting in a valuable, unanticipated outcome (Makri and Blandford, 2012). However, this opposing view to intentionality have not been examined in detail in studies about visual artists' ideation (Hemmig, 2009; Cowan, 2004).
To summarize, while many studies have explored artists' information-seeking behaviours, there is particularly a need for research exploring ideation as a part of artistic creative processes holistically. How internal and external information sources interact in ideation has not yet been examined. Therefore, we conducted an interview study with visual artist that shed light on the sources of ideation in creative artistic processes.
Research methods
Empirical data collection
The research data was collected by semi-structured interviews with professional visual artists. According to Magaldi and Berler (2020), semi-structured interviews are characterized by their ability to follow topical trajectories as the conversation unfolds, allowing for discovery and exploration. Based on previous studies (Cobbledick, 1996; Hemmig, 2009) it was known that the research topic yields multifaceted and diverse responses. If any clarifications are needed, they can be easily requested during the interview. Additionally, the information obtained can be further clarified in the interview by asking follow-up questions or requesting justifications for the opinions expressed (Magaldi and Berler, 2020).
The interviews were collected within the period of September 2023–January 2024 by interviewing 15 visual artists in Finland. Only professional visual artists were selected for the interviews. This is similar to Hemmig (2009), who interviewed practicing visual artists for his study. Students and hobbyists were excluded because their ideation, creative art processes, and methods of information seeking are expected to differ from those of professionals (Kolyvas and Kostagiolas, 2024). The recruitment of the interviewees proceeded partly using the snowball method: the interviewees recommended an artist they knew. The interviewees were contacted by phone. In the phone conversation, the visual artist was told about the topic and schedule of the upcoming interview. Informed consents were collected. Before the interview, a Research Announcement and Data Protection Notice were provided to the interviewee, and they were encouraged to reach out if any relevant thoughts arise after the interview.
The interviewed artists were self-employed, all having received vocational training in visual arts. Eleven interviewees held a master's degree in fine arts, and two had earned a doctorate in fine arts. The participants had worked in the visual arts field from four to thirty-two years. The average length of working career was 21 years. The career was considered to have started when graduating from visual arts education. All interviewees were members of fine arts organizations and engaged in artistic work or a combination of artistic and other work, that was typically teaching.
Representatives from three visual art fields—painters, sculptors, and graphic artists—were selected in equal numbers for the interviews. Their professional titles included sculptor, painter, printmaker, visual artist, and artist. Most of the interviewees were involved in teaching within the field of visual arts at some point, but they primarily earned their income from their artistic work. They were of active working age, ranging from 31 to 71 years, with a median age of 42, and genders among the interviewees was balanced.
Ten of the interviews were conducted face to face, and they took place in the artists' own workspaces, primarily in their studios. This enabled the interviewees to feel safe and comfort, because they were in their own place, surrounded by their own work. This is recommended when conducting a semi-structured interview: if the interviewees' real life is left out of the situation, it may affect the quality of the interviews (Patton, 1990). In addition, the studio was a quiet space where it was possible to record the interview undisturbed and there were no other people present. Five of the interviews were conducted in a café, where background noise somewhat hindered the later transcription process. However, it did not substantially affect the flow or content of the interviews.
At the beginning of the interview, the interviewer provided an outline of the interview process, asked permission to record the interview, and ensured that all information gathered during the interview will be treated confidentially. Next, the interview questions explored the 19 main themes presented in the interview guide. This paper is based on the following two themes that the interviewer posed to the informants during the interviews:
Ideas. How do you generate ideas for different artworks? Describe, for instance, the genesis of this (recently completed or other prominently displayed artwork). How did this idea originate? What followed afterward? What happens during/after completion?
Work Process. What does your typical work process look like, where does it begin, and how does it progress? Or is there such a process in your case?
As the interviews were focused on a recent artistic work process, the participants were able to recall the process more precisely. They were able to remember how it progressed and what kind of sources of ideation were used during it: when they were in their own studio, they could more easily revisit the process by looking at their art works. This advantage was absent in interviews conducted in a café, where some interviewees had some difficulties accurately remembering the process. Overall, the minor difficulties of data collection underlined the depth of the interviews, resulting in a dataset that is both rich and insightful.
The length of the interviews ranged from 44 min to an hour and 45 min. All interviews were digitally recorded and saved as Mp3 files yielding approximately 22 h of recorded material. The interviews were transcribed into text for the analyses.
Data analysis
We employed a content-driven thematic analysis for the data. The basic task when coding for content, following Guest et al. (2012), was to come up with valid and reliable approaches for grouping content at specified levels of meaning and interpretation. First, the interview data was reviewed multiple times to familiarize the researchers with the dataset. After this, expressions describing ideation were sought from the interview data. Then, all instances related to ideation and sources of ideation were identified and selected from the data and moved to Excel spreadsheets. The interviewees expressed ideation for example by saying “I started with this,” “this was the first idea,” “initially, I thought of xx detail,” “the starting point of this work was xx,” or “the initial impetus for the process was xx.” At this point we had identified 112 excerpts describing ideation.
The next step of the analysis was identifying different types of sources of ideation to answer RQ1: What kind of sources of ideation do the visual artists utilize? This was done by coding the excerpts. Several rounds of coding were conducted, and the codes were discussed among the article's authors. We applied multiple coders to increase coding reliability (Guest et al., 2012). As the coding progressed, four primary sources of ideation began to emerge from the data. These sources were grouped, and all excerpts were placed into the designated categories. Next the groups of sources were labelled. We labelled the primary sources “Observation”, “Self-created”, “Experimenting” and “Self” according to the main characteristics of each source of ideation. Each primary source represents a type of source used for ideation and each source has number of different categories of sources.
The interviews were conducted in Finnish and the quotes were translated into English. Tables 1 and 2 present definitions for various sources of ideation identified in the data. Examples of articulations depicting ideation include observation, self-created material, experimenting and self. In the following Table 1, these are described by stating the primary source of ideation, its definition, and presenting an excerpt from the research interviews related to that source (see Table 1).
Sources of ideation
| Source of ideation | Definition | Example from interviews |
|---|---|---|
| Observation | Observing the external world as a source of ideation | P9: I draw them in different places. So, I might be somewhere, let's say in nature, drawing what I observe there, or I might draw from pictures I see, or I might draw based on something else |
| Self-created | Using their own previous works of art, sketches, notes, or self-taken photos as sources of ideation | P5: Then an important source is one's own previous works. Because even though one does not want to repetitively copy oneself in a negative sense, for many artists, including myself, it is typical to constantly draw momentum from previous work and get inspired |
| Experimenting | Using the creative process, materials and techniques as sources of ideation | P8: But it's wordless, it doesn't happen through thinking. It happens with the hands, with the body … the body does, the hands do, the materials do, the materials suggest things. And that's how the work emerges |
| Self | Using personal experiences and imagination as source of ideation | P6: So, in a way, it's really the feeling or a sort of premonition. If we're talking about an image, it's a premonition of an image that should convey a certain feeling or experience or thing. And then, depending on what kind of approach would best convey this, that's what I start looking for |
Dimensions of sources of ideation
| Dimension | Definition | Example from interviews |
|---|---|---|
| External world | The external world encompasses the physical surroundings, social interactions, and cultural influences that an artist encounters | P1: If I know there's an upcoming exhibition, I usually start by making a scale model of the [exhibition] space. With that, I can somehow gather my thoughts. Or it's hard for me to make individual pieces. They often come about by thinking of some overall concept, and then it starts from the space |
| Internal world | The internal world is the realm of personal experiences, memories, and emotions that deeply affect an artist's creative output | P9: So, the work process teaches and gives you knowledge, and that's extremely important to me. It's kind of like your own experience. - - It's a source of tacit knowledge |
| Intentionality | Intentional activity is goal-oriented and delimited. Intentionality in art refers to the deliberate and purposeful aspects of the creative process | P5: My painting method is characterized by gathering image ideas that come to mind, and then I quickly mark them down. And then I execute some of these ideas first as small drawings or watercolors, which I think of … not as sketches, but as actual works, just in a smaller size |
| Serendipity | Serendipity involves the occurrence of unexpected and fortunate discoveries that can lead to new directions and innovations in an artist's work | P1: Quite often there's some kind of coincidence or a mishap or something like that. It happens while doing something else, a mistake happens or I drop something. And then I realize, that's actually quite interesting, and then I start exploring it more |
Following this, we examined the various dimensions of the sources of ideation. This analysis aimed to address the research question 2: What are the distinct characteristics of the sources of ideation. When the coding progressed, also four primary dimensions of sources of ideation began to emerge from the data. As in the earlier phase of the analysis, multiple rounds of coding were conducted for these dimensions, and the codes were discussed among the article's authors. Similarly to the previous phase, these dimensions were grouped, and all excerpts concerning the various dimensions were placed into four categories. Then the dimensions were labelled. The dimensions of ideation entailed external world, internal world, intentionality and serendipity. The analysis of the dimensions dealt with the specification of the relationships between diverse characteristics of the sources of ideation. In the following table, we state the dimension of ideation, its definition, and present an excerpt from the research interviews related to that topic (see Table 2).
Finally, we refined and completed the writing process, ultimately arriving at a comprehensive understanding of the findings. When analysing the interviews we focused only on ideation as an independent phenomenon, distinct from the rest of the creative process.
Findings
Sources of ideation
In the creative art process of visual artists', ideation is the starting point. The duration of ideation can vary from minutes to years. Some artists find themselves seeking justification for their work and essentially rationalizing its existence, sometimes even in written form, before any material creation takes place. This period can be lengthy. Others work at a rapid pace or engage in serial or thematic approaches. Early-career artists may struggle to generate ideas, while later, they may have multiple ideas either documented or persistently occupying their minds. For many visual artists, ideation involves seeking a specific mental state—a positive “work vibe.”
Ideation occurs both before the actual creative process begins and during its execution. During execution the artists search for the final form or figure of their artwork. Ideation includes constant filtering of ideas, in which an upcoming idea gets filtered through artistic intuition. This filtering represents the essence of artistry: the ability to identify a target with artistic potential amidst chaos.
In investigating RQ1, what kind of sources of ideation do the visual artists utilize, we identified four primary sources of ideation from our dataset: (1) observation as a source of ideation, (2) self-created as a source of ideation, (3) experimenting as a source of ideation, and (4) self as a source of ideation. Each primary source represents a type of source used for ideation and each source has number of categories. Under the categories there are different species of that category. For example, when a primary source of ideation is observation, that has 6 different categories of sources (environment, society, art world, models, on-line resources and print materials), then the category models divides into two: objects and human models.
Observation as a source of ideation
In Observation, the starting point for an artist's ideation is observing the environment, society, art world, models, on-line resources or print materials (Figure 1). This observing is directed to the external world around us, towards something material. At the centre of the figure is the primary source. The branches of the figure represent the different categories of the primary source. Beneath the categories are the various species.
The figure has a central black circle labeled “Observation” with six colored branches leading to different categories. To the upper left, a circle is labeled “Models.” It has two horizontally arranged boxes above it labeled “object” and “human.” To the left, a circle labeled “On-line resources.” It has three horizontally arranged boxes on the left labeled “social media” and “Internet.” On the bottom left, a circle is labeled “Print materials.” Below the circle, four boxes are arranged in a two-by-two grid with the labels “books,” “newspapers,” “magazines,” and “exhibition catalogs.” On the lower right, a circle is labeled “Environment.” It has five boxes below it, arranged in two rows, labeled “nature,” “urban,” “gallery space,” “working space,” and “industrial space.” On the right, a circle is labeled “Society.” It has five boxes on the right, arranged in two rows, labeled “ongoing debate,” “news,” and “social injustices.” On the top right, a circle is labeled “Art world.” It has five boxes above it, arranged in two rows, labeled “canon of art,” “old art,” “art history,” “contemporary art,” and “art making techniques”.Observation as a source of ideation. Source(s): Figure by authors
The figure has a central black circle labeled “Observation” with six colored branches leading to different categories. To the upper left, a circle is labeled “Models.” It has two horizontally arranged boxes above it labeled “object” and “human.” To the left, a circle labeled “On-line resources.” It has three horizontally arranged boxes on the left labeled “social media” and “Internet.” On the bottom left, a circle is labeled “Print materials.” Below the circle, four boxes are arranged in a two-by-two grid with the labels “books,” “newspapers,” “magazines,” and “exhibition catalogs.” On the lower right, a circle is labeled “Environment.” It has five boxes below it, arranged in two rows, labeled “nature,” “urban,” “gallery space,” “working space,” and “industrial space.” On the right, a circle is labeled “Society.” It has five boxes on the right, arranged in two rows, labeled “ongoing debate,” “news,” and “social injustices.” On the top right, a circle is labeled “Art world.” It has five boxes above it, arranged in two rows, labeled “canon of art,” “old art,” “art history,” “contemporary art,” and “art making techniques”.Observation as a source of ideation. Source(s): Figure by authors
Visual artists consciously and unconsciously observe their environment. Various types of environments can serve as sources of ideation for their ideas. This may stem from natural settings, urban environments, workspaces, exhibition spaces, or, for example, industrial settings. Often, a particular detail captures the artist's attention. The artist may also consciously observe, for instance, natural surroundings and utilize them as a source of ideation. In the following a sculptor discusses her source of ideation:
P1: For example, a practical example of this is this pedestrian bridge that I often, almost certainly several times a week, walk under. There’s this spot … like, it’s made of concrete. There was a wooden mold on the wall, and then there’s this one spot where there’s a defect or flaw. So, for many years, I wondered what might have happened there. Or what that mold is, whether it leaked or what happened. And then, in a way, thinking about it led to a couple of projects being completed. Just out of the curiosity about what that defect is. That’s pretty typical nowadays, really.
For a visual artist, having their own workspace is particularly important. It is a place for creating, focusing, thinking, and experimenting. The workspace itself also serves as a source of ideation. A graphic artist explains:
P8: And if I somehow answer that question, it’s that I come to the [workspace] and start doing things. It produces those works. It has produced them before. And that’s why I think it’s important for artists to have that workspace. It’s always in the artist’s style. In a way, the studio is like a metaphor for one’s own thinking. So, I guess things in my head are pretty well organized. There’s this kind of connection I see in it.
Similarly, the future exhibition space often inspires the artist. It is important to personally experience and visit the exhibition space. The space frequently acts as a source of ideation for future works.
Many visual artists engage in societal discourse through their works. They may comment on current events, news, or social injustices.
Visual artists often state that all new art is a commentary on previous art. Sources of ideation can include historical art, contemporary art, artistic techniques, art history, and the canon of visual arts. A graphic artist says:
P4: I’m definitely not the only one, I mean, a lot of people have a sort of dialogue with old art or the materials of previous creators. It’s like they comment on it, or it’s just there as a kind of layer. Because it’s some kind of foundation for everything. Or even for contemporary art.
The live model is a central source of ideation in visual art. A model can be a natural object (e.g. a flower, tree, or forest) or a human or group of people. A visual artist may draw directly from observation of the model or take a photograph of the model and draw based on that.
On-line resources often serve as a source of ideation. Visual artists follow posts by foreign art museums on platforms such as Instagram and Facebook. Social media also allows them to see new works by other artists. In some cases, artists check social media to see if someone else has already executed an idea similar to their own. If such an execution is found, the artist may abandon the idea, as no one wants to create something identical to others. A graphic artist uses Instagram:
P4: And now I’ve also joined Instagram. I’ve been completely outside of social media, but then I felt like I wanted to be part of it too. And it’s one way to get my pictures out there, beyond just Finland. And of course, Instagram is … You can’t travel to all the art museums in the world either.
Visual artists also derive ideas from traditional sources of information: printed materials. They study books, newspapers, magazines and exhibition catalogues, seeking information and images. A graphic artist describes her relationship with literature:
P12: You go towards an idea that interests you, and maybe you’ve picked it up from literature or some kind of fictional work or something like that. Because it interests you.
Self-created material as a source of ideation
In the Self-created artists' sources of ideation are any kind of self-created material: their previous works of art, sketches, notes, and self-taken photos (Figure 2).
The figure has a central black circle labeled “Self-created” with four colored branches leading to different categories. To the upper left, a circle is labeled “Notes.” Two boxes are arranged horizontally above it and are labeled “notebook” and “diary.” On the bottom left, a circle is labeled “Sketches.” Two boxes are arranged in a horizontal sequence, below the circle, and are labeled “earlier sketches” and “new sketches.” On the lower right, a circle is labeled “Photos.” Three boxes are arranged below it in two rows, labeled “own photo bank,” “intentionally,” and “for certain work.” On the upper right, a circle is labeled “Previous works.” Three boxes are arranged above it in two rows, labeled “test pieces,” “final works,” and “pieces”.Self-created as a source of ideation. Source(s): Figure by authors
The figure has a central black circle labeled “Self-created” with four colored branches leading to different categories. To the upper left, a circle is labeled “Notes.” Two boxes are arranged horizontally above it and are labeled “notebook” and “diary.” On the bottom left, a circle is labeled “Sketches.” Two boxes are arranged in a horizontal sequence, below the circle, and are labeled “earlier sketches” and “new sketches.” On the lower right, a circle is labeled “Photos.” Three boxes are arranged below it in two rows, labeled “own photo bank,” “intentionally,” and “for certain work.” On the upper right, a circle is labeled “Previous works.” Three boxes are arranged above it in two rows, labeled “test pieces,” “final works,” and “pieces”.Self-created as a source of ideation. Source(s): Figure by authors
Visual artists often use their own earlier previous works as the basis for new ideas. Additionally, components of these works, test pieces, and broken or detached parts can serve as sources of ideation. A graphic artist discusses his working methods:
P8: So, will it turn out exactly as I imagined? I don’t think so, but in that moment, it becomes something specific … and then I add another color, and it kind of … fits in. Also, the resulting pieces, test pieces, and works, they somehow start to interact and encourage the next works to emerge. It’s like a … kind of cycle.
Artists often use their own sketches as sources of ideation. They may study their earlier sketches, create new ones based on them, and then revisit the original sketches. This process helps generate new works. A graphic artist explains:
P3: Then I sketch, a huge amount of sketches. And I also have old sketches that I go through. And from all of those, I sort of edit the material. And then, when I’ve somehow managed to distill the current idea or mood, I start making more detailed so-called working drawings. And from there, I proceed step by step.
Most visual artists take notes, which can vary in type and detail. The most important is often the notebook or drawings. Some artists keep a diary, while others maintain a work journal. Miscellaneous notes can also be important during the ideation, as well as notes from previous work processes.
A painter talks about notes:
P5: Then there are these “notes” in a very concrete sense. Which means written notes. Just like I mentioned, I write down those image ideas. It’s actually easier for me to write it down if an idea comes to mind, to jot it down in one sentence, rather than quickly sketching it in a sketchbook. Maybe the verbalized idea of, say, a visual work or a painting or something else or some other type of art project stays in my mind better, if I put it that way.
Many visual artists take numerous photographs themselves and use them as sources of ideation. Some create extensive “personal image banks” with thousands of their own photos, which they utilize in their work. Artists may also take numerous photographs intentionally, for a specific artwork or purpose. A painter explains:
P4: I usually plan by photographing, I mean taking photos myself. I constantly take new photos in a way that I can just take a picture of something, without thinking that this will become a piece of work someday. I try to be as free as possible, just photographing anything that feels interesting. But usually, photography is very central to me, and the planning work also happens through those photos
Experimenting as a source of ideation
When artists utilize these sources of ideation, they do not want to control the creative artistic process itself but instead are experimenting. Rather, they are “just doing it”, letting the process guide, letting the materials guide, learning from experience, or making “trial and error”. The artists draw inspiration on materials, techniques, or processes (Figure 3).
The figure has a central circle labeled “Experimenting” with three colored branches leading to different categories. At the top, a circle is labeled “Materials.” Three boxes are arranged horizontally above the circle, labeled “familiar materials,” “new materials,” and “combined materials.” On the bottom left, a circle is labeled “Processes.” Two boxes are arranged horizontally, below the circle, labeled “learning from process” and “letting the process guide.” On the bottom right, a circle is labeled “Techniques.” Two boxes are arranged horizontally below the circle, labeled “combined techniques” and “new techniques”.Experimenting as a source of ideation. Source(s): Figure by authors
The figure has a central circle labeled “Experimenting” with three colored branches leading to different categories. At the top, a circle is labeled “Materials.” Three boxes are arranged horizontally above the circle, labeled “familiar materials,” “new materials,” and “combined materials.” On the bottom left, a circle is labeled “Processes.” Two boxes are arranged horizontally, below the circle, labeled “learning from process” and “letting the process guide.” On the bottom right, a circle is labeled “Techniques.” Two boxes are arranged horizontally below the circle, labeled “combined techniques” and “new techniques”.Experimenting as a source of ideation. Source(s): Figure by authors
For visual artists, materials often serve as sources of ideation. Extensive experimentation is conducted with familiar materials. If the material is unfamiliar, the artist typically begins by experimenting to understand its properties and potential uses. Artists may also experiment with combining different materials in their work, sometimes in ways that have never been attempted before. A painter describes this process:
P4: Sometimes you take a new material just because it’s unknown and difficult. Like now, I’ve started using metallic paints, which behave completely differently from regular oil paints. So, you’re kind of struggling with it and wondering what it wants now … what will happen.
Visual artists experiment with various techniques. Particularly when a new technique is involved, it can serve as a source of ideation for a single work or a series of works. Experimental techniques or combining different techniques often require patient and diligent work. Ideas can also arise from failures or mistakes.
A graphic artist tells:
P12: Well, quite a lot of ideas have started from very experimental doing. I really like working in a way, maybe also with methods or techniques or devices that I kind of use a bit differently than they were designed for. So, through the chance occurrences and mistakes that happen in the process, that’s maybe what interests me. Of course, there’s some initial idea of what something will become, but then I’m perhaps most interested in all the surprises and coincidences and even the mistakes.
Step-by-step progression is an essential element in the creative process of a visual artist. They describe learning during the process and allowing it to guide their work. This is how a painter describes her approach:
P4: I try to do something with each painting that I haven’t done before. So, I aim to put myself in a situation where I don’t completely control it. And it’s interesting how I … what kind of problem I create for myself. Problems that I need to solve. And that’s because I aim … Because if I know and understand, then I also control, and then I’m already heading towards something finished. Something I already know. So, when I create such a space for myself and am in that process, I kind of wait to see what I will do next.
Self as a source of ideation
Self as a source of ideation is something highly characteristic to artists. It is about the artists themselves, about their inner world, about something that's inside their heads. This source is difficult to articulate. The self also includes the special way of seeing, the personal way of looking around you. It is something other than just observing, rather “seeing as I see it” and then trying to put that vision on a canvas or into a sculpture.
The main sources of the “Self” are vision, visual ideas and experiences (Figure 4).
The figure has a central circle labeled “Self” with three colored branches leading to different categories. At the top, a circle is labeled “Vision.” Two boxes are arranged horizontally above the circle, labeled “intuition” and “imagination.” On the bottom left, a circle is labeled “Visual ideas.” Three boxes are arranged in two rows below the circle, labeled “visual thinking,” “mental visualization,” and “thinking through drawing.” On the bottom right, a circle is labeled “Experiences.” Four boxes are arranged in a two-by-two grid below the circle, labeled “bodily,” “mental,” “dreams,” and “memories”.Self as a source of ideation. Source(s): Figure by authors
The figure has a central circle labeled “Self” with three colored branches leading to different categories. At the top, a circle is labeled “Vision.” Two boxes are arranged horizontally above the circle, labeled “intuition” and “imagination.” On the bottom left, a circle is labeled “Visual ideas.” Three boxes are arranged in two rows below the circle, labeled “visual thinking,” “mental visualization,” and “thinking through drawing.” On the bottom right, a circle is labeled “Experiences.” Four boxes are arranged in a two-by-two grid below the circle, labeled “bodily,” “mental,” “dreams,” and “memories”.Self as a source of ideation. Source(s): Figure by authors
Vision relates with the artists' intuition and imagination. Visual artists often rely on intuition, understood as an immediate, non-conceptual form of knowing that guides creative decisions without the mediation of rational analysis or formal methodologies. Intuition enables artists to access internal impulses, emotions, and subconscious insights, allowing for authentic and spontaneous expression. It is not merely a “gut feeling,” but a dynamic, processual engagement with the world that reveals movement, change, and becoming rather than static representation (Rebolledo Palazuelos et al., 2018). An artist's intuition is the most crucial aspect of their work. It is linked to ideation and constant filtering, enabling the artist to choose which idea to develop further. This often does not pertain to the factual content of the idea, but rather to something that lingers, disturbs, or feels that it needs of exploration. The subconscious and emotions are tied to intuition, and this process is challenging to verbalize. Through imagination, an artist explores scenarios that have not occurred in the real world but could potentially happen.
A graphic artist talks about his visions:
P8: I usually start from very vague ideas, some kind of mental images. I might have a really strange idea in my head about what the piece … the future piece could be. And then, when I start working on it, the conversation in my head, those mental images, kind of fade away.
A painter talks about visual ideas and intuition stemmed from the course of world events:
P5: Simply put, when you follow what’s happening in the world in a non-artistic way and think about philosophical-political questions, they don’t directly lead to paintings. But in some intuitive way, they do. The image ideas that pop into your mind, even if they stay kind of beneath the surface, on the side of intuition.
For a visual artist, visual thinking, thinking through drawing, and mental visualization are important sources of ideation. A sculptor explains his methods:
P9: It’s like you’re constantly building this kind of bank. - - And with people, I use a lot of so-called mental sketching, I don’t necessarily use a pen, but I observe. Like you see in my works, there’s a figure, a human figure, clothes, and such. I follow them and might mentally sketch at the same time, in my head. That’s how the piece of work forms, and then you refine it. That process is really hard to describe in words.
Personal life experiences, both physical and mental, can serve as sources of ideation. An experience can be remembered from years past or be recent, long-lasting, or a brief moment in life. Personal memories and dreams can also serve as sources of ideation. These memories may come from something that has been documented or simply from a powerful experience that remains vivid over time.
A sculptor talks about experiences:
P5: For an artist, it can be very important, not only as a motivator but also as a source of information, like one's own bodily experience of aging. As an expert in this field, a person can then use this examination of their own aging and that experience, for example, in their painting, photographic art, or some other work. - - in art it is more common and appropriate to use this source of information in one's work. This kind of partially subjective and firsthand knowledge. Generated through one's own experience.
Characteristics of the ideation sources
Second in our analysis, we looked at RQ2: What are the distinct characteristics of the sources of ideation? The mutual relationships between the four key characteristics of ideation sources were examined by making use of a quadrant with four dimensions: external world, internal world, intentionality, and serendipity (see Figure 5). Figure 5 examines the relationship between the circles, which represent the sources of ideation. This arrangement is based on their proximity to the external world and the artist's inner world, as well as whether they represent more intentional or serendipitous characteristics. The circles represent the phenomena, and the size and the shapes do not matter. The size of the circle does not reflect frequency or meaning, but dimension.
The diagram shows a quadrant chart with a large square and axes intersecting at the center. The top label above the square reads “Intentional” with an arrow pointing up. The bottom label reads “Serendipitous” with an arrow pointing down. The left label reads “External world” with an arrow pointing left, and the right label reads “Internal world” with an arrow pointing right. Inside the square, there is a large circle labeled “Experimenting” at the center. A horizontal oval labeled “Observation” extends from left to right near the top, near the three-fourths length of the vertical axis. A circle labeled “Self-created” overlaps the upper right part of the horizontal oval in the top right quadrant, and a circle labeled “Self” is positioned in the lower right quadrant, overlapping with the central circle.Sources of ideation on a Quadrant. Source(s): Figure by authors
The diagram shows a quadrant chart with a large square and axes intersecting at the center. The top label above the square reads “Intentional” with an arrow pointing up. The bottom label reads “Serendipitous” with an arrow pointing down. The left label reads “External world” with an arrow pointing left, and the right label reads “Internal world” with an arrow pointing right. Inside the square, there is a large circle labeled “Experimenting” at the center. A horizontal oval labeled “Observation” extends from left to right near the top, near the three-fourths length of the vertical axis. A circle labeled “Self-created” overlaps the upper right part of the horizontal oval in the top right quadrant, and a circle labeled “Self” is positioned in the lower right quadrant, overlapping with the central circle.Sources of ideation on a Quadrant. Source(s): Figure by authors
Observation represents the external world and intentionality. The sources of ideation stem from environment, society, art world, models, on-line resources or print materials. This source of ideation is directed towards the external, material world. Observation is close to intentional actions but not entirely; sometimes for example a detail is noticed by chance. A painter tells about his ideation related to society:
P14: There is usually a spark behind it, where I realize, “A-ha, okay, this painting could be connected to these phenomena that are becoming relevant at our time because something has happened.” Then I seize that idea and start working on it.
Self-created elements are situated close to intentionality and to the artist's internal world. Although the outcome is material, the source can be seen as representing the internal world in the sense that self-made materials are close to the artists intuition and intention. The matter that they appear in physical form is only technical, as they always include the artists' personal way of seeing. The main sources are the visual artists' own previous works of art, sketches, notes, and self-taken photos. An example of the former and the latter comes from a painter:
P3: What has happened within this year is that I have also used my paintings as a subject for new paintings, in a way. It was quite a coincidence that I photographed a situation like this, where the painting is standing there on the easel. It is in this room, which has a certain kind of light. And I took a photo of it and then created a new painting, because it adds spatiality. And it is in a way a painting of a painting, but also a painting as … when the painting is in space. Or as if it is in reality. There is no longer just the truth of the painting itself, but it also has that shared space in it.
Experimenting is placed in the centre, because it represents both the artist's internal and external worlds. The artists draw ideation on materials, techniques, or processes. If the artist is working with a certain material, the material belongs to the external world, but the process is guided by the artist's intuition. As it comes to serendipity and intentionality, experimenting also represents them both: experimenting can be almost entirely serendipitous, even chaotic, but when it comes to filtering, the decision with which experiment to carry on, it is highly intentional. Here's a sculptor explaining her habits:
P1: But then individual sculptures often emerge as by-products when working on a larger piece. Sometimes, if something goes wrong, there might be parts of the sculpture or slightly flawed heads, or whatever they may be, that are left behind. These parts might eventually become a sculpture.
Self is situated in the lower right corner of the quadrant, closest to the inner world and serendipity. The main sources are the visual artists' own experiences, vision and visual ideas. “Self” lies at the heart of a visual artist's work, and again, it is a subject for constant filtering which is essential for an artist: the ability to see which ideas have artistic potential. A sculptor describes his ideation:
P15: Ideation is constantly in a sort of flux. From this, various things emerge—not necessarily finished works, but some kind of ideas or thoughts that stick in the mind. These are usually the ones that stay there for a long time, waiting for the right space or context.
Discussion
Visual artists incorporate diverse sources of information into their creative artistic processes. In this study, we investigated the various sources of ideation that visual artists utilize when generating new artworks. Basing the analysis on 15 qualitative interviews with professional artists we identified and characterized sources of ideation, leading to holistic understanding of the role of information in artist's ideation. Specifically, we identified the types of sources of ideation (RQ1) and characterize them with four dimensions: external world, internal world, intentionality, and serendipity (RQ2). The findings indicated that visual artists utilize a wide variety of ideation sources, addressing both external and internal worlds. Depending on the type of source artist may intentionally seek the information or it may happen serendipitously more or less by a lucky accident.
An important finding is that this information is mainly discovered outside the traditional information sources, such as books or journals, for example. Indeed, for artistic ideation observing the environment and society, own collections and works, experimenting with materials and getting inspiration from own visions and ideas is critical. Therefore, concepts such as becoming informed and information experience that are used for studying receiving, acquiring and interpreting sensory (corporeal, embodied), cognitive and affective information, are helpful explaining the phenomena (Gorichanaz, 2019; Savolainen, 2020).
Our analysis revealed four primary sources of ideation that visual artists utilize: observation, self-created, experimenting and self. The first source of ideation discovered, namely, “Observation” as a source of ideation, is directed to the external world and can be intentional or unintentional. It is towards something material including the traditional information sources such as books, newspapers and Internet, but also environment (e.g. gallery space, own studio), art world, models and society. Our study further elaborates earlier findings of the various use of external world sources by artists (Cobbledick, 1996; Beaudoin, 2014; Hemmig, 2009; Gorichanaz, 2020; Robinson, 2014; Sawyer, 2011) and their relevance during ideation. Although previous studies (Robinson, 2014) have identified “interactions with people” as a crucial element in the artistic process our data did not indicate other people as relevant sources during ideation. Perhaps it is a stage in visual artists creative process that they want to keep more private. Also, it might be important to artists to secure their own original thoughts during ideation and not intervene with others. A very important factor, however, seems to be the artists' own studio. Steinbach (2018) asserts that for visual artists the studio frequently functions as a research and development laboratory, where most new artworks are initiated through experimentation and engagement with other projects.
The second source of ideation, “Self-created”, refers to using own previous works, photographs, notes and sketches as a source of ideation. Self-created as a source of ideation was characterized as belonging to the internal world and as intentional as self-made materials are close to the artists intuition and intention. Indeed, in many cases new artistic works are built on the ideas or themes the artists have processed before. When doing this, artists go back to their earlier works, notes and sketches and create new ones based on them. Also, earlier studies have discussed the value of self-created materials in ideation and shown that artists have varying ways to document and manage their personal collections (Krtalić and Dinneen, 2022). Often emotional value is attached to these collections and they may become important in the future for research purposes if become publicly available (Krtalić and Dinneen, 2022). Further, earlier studies have also highlighted the role of self-taken photographs. According to Steinbach most artists “seem to have sketchbooks, folders, shoeboxes, databases, or phones full of images that are gathered for potential use directly in their work, or simply as a way of thinking about ongoing or new ideas” (2018).
The third source of ideation, “Experimenting” as a source of ideation, refers to drawing inspiration from materials, techniques and processes. It does not include traditional use of information, rather learning from experiences and “just doing it” are the main drivers of this source. New ideas may stem from playing with old and new materials and techniques. Also, step-by-step progression is an essential element in the work of a visual artist (Steinbach, 2018) and it may also serve as a source of ideation. Experimenting cannot be characterized either as internal or external, or serendipity or intentionality, as it can have dimensions of all. This way of approaching can be highly personal and even chaotic but yet often employed by the artists. Experimenting as a source of ideation is connected with embodied knowledge that has shown to be crucial in artistic work Zreik et al. (2021), Steinbach (2018).
The fourth source of ideation discovered is “Self” which represents the artist's inner world, something that is inside their heads. This source relates with using personal experiences and imagination as source of ideation. Articulating this is challenging, and presumably for this reason, this category has not been studied in more detail in previous research. However, “Self” constitutes the core of the visual artist's creative art process, making it crucial to attempt to describe the nature of the ideation associated with it. Serendipity is connected to “self” as it is something that cannot be forced but exploits subconscious and emotions.
Our findings emphasize the role of artist's inner world in ideation. How internal and external information sources interact in ideation had not yet been examined in detail. In some previous studies, the external world seemed an important source of ideas for visual artists. As in Mason and Robinson's (2011) classification, ten out of their eleven categories can be seen as representing the external world. In Hemmig's study (2009) one out of his six categories of sources of inspiration represent internal world, the others referring to the external world. The findings of this study suggest that the artist's inner world is at least as significant, if not more so, as a source of ideation compared to the external world.
Some prior studies have investigated the visual artists' internal world. Our study confirms the findings of Cobbledick (1996), Cowan (2004), Mason and Robinson (2011), Zreik et al. (2021), and Gorichanaz (2020), who refer to personal experiences as source of ideation. Cowans “self-inquiry”, and “attentiveness” can be seen as belonging in the “Self” of this study, as well as Mason and Robinson (2011) notions on dreams, memories and imagination. Gorichanaz (2020) mentions the lived environment, and profound experiences as significant sources of inspiration, elements which also can be seen as belonging to the category “Self”.
Further, the artists' intention has been found to be crucial to their ideation (Cobbledick, 1996; Hemmig, 2009). Our findings corroborate this finding. Based on our data, intentionality in the work of visual artists is a complex concept that includes the conscious choices and decisions artists make throughout the creative process.
To elaborate the research by Hemmig (2009) and Cowan (2004), our findings suggest that serendipity plays a crucial role in the artistic process, as unexpected and fortunate discoveries can inspire new directions and innovations in an artist's work. While previous studies on visual artists' ideation (Hemmig, 2009; Cowan, 2004) mention serendipity, they do not explore it in depth. This study shows that serendipitous moments often emerge from the interplay between the artist's internal and external worlds, resulting in unique and unplanned creative outcomes. Artists can embrace serendipity in their work due to their refined ability to recognize elements with artistic potential.
Visual artists draw upon a variety of information sources in their creative art processes. According to Bates (2017), information can be seen as a proposition, a structure, a message, or an event; requiring truth or indifferent to truth; socially embedded and under perpetual reinterpretation or as measurable in bits; a worn-out idea deserving of dispatch or as an exciting conception understandable in terms of evolutionary forces. In this study, the concept of information is broader than its traditional understanding, encompassing visual elements and aspects related to the visual artist's inner world. The context of activity is also different. Therefore, the traditional notion of information does not fit this context. The study concerns the visual artist's interaction with various dimensions. The term closest to the study's concept of information is “becoming informed”.
“Becoming informed” is related to the construct of “information experience”. This conception is based on the subjective view of information, and information experience as experience of being informed by anything informative in specific contexts (Yu and Liu, 2022). When an artist becomes informed, he or she may “experience information” (or an informational object, for example, a painting) in some way. The studies on information experience are relevant because they deal with the ways in which people orient themselves to informational objects of diverse kind and interpret their meaning (see Gorichanaz, 2020).
Also embodied knowledge studies are relevant when investigating visual artists information seeking (Zreik et al., 2021). Steinbach (2018) posits that a key form of embodied knowledge for artists manifests within the art-making process itself. Although the quest for technical mastery constitutes a vital aspect of embodied research within this process, other forms of embodied research occur outside the studio. One such aspect involves engaging with images more profoundly through drawing or other methods of examination.
There were some limitations in the research. Due to the relatively small number of informants, the research findings can only be generalized to a limited extent to all visual artists. There might be variation caused by, e.g. different methods and techniques used in creative artistic processes. However, data began to saturate already after ten interviews. In this context, the insights from the fifteen interviews were rich and diverse. The original research questions about the sources of ideation utilized by visual artists and the characteristics of these sources were thoroughly addressed in this study.
This study explores the sources of ideation in the creative processes of visual artists. The sources of ideation have been categorized and their characteristics analyzed, resulting in a four-quadrant model, a framework that sheds new light on the subject. Going beyond the traditional information sources and library services including mental and bodily information sources this study expands the existing understanding of information interaction.
In this study we explored the sources of ideation, i.e. the information sources that the visual artists use for the purposes of ideation during creative artistic processes. As Gorichanaz (2020) articulates, this is the only occasion where artful lived phenomena can serve as information. This study has investigated the sources of ideation among visual artists. Artistic work includes also other activities than the ideation, and it can be expected that information is also needed and utilized along the whole creative process.
Conclusion
This study aimed to explore the sources of ideation that visual artists utilize when generating ideas for their future artworks. Our research was based on 15 qualitative interviews with visual artists that were analysed with content-driven thematic analysis.
Our findings identified four primary sources of ideation: (1) observation, (2) self-created content, (3) experimentation, and (4) self. These sources were placed into a quadrant according to their key characteristics, regarding the interplay between the visual artists' internal and external worlds, the intentionality behind the visual artists' creative acts, and the role of serendipity in ideation.
This study presents a preliminary example demonstrating how the proposed model may inform both artistic practices and documentation strategies. Furthermore, we outline a tentative direction for future research. While it is widely acknowledged that task stages influence information use (Kuhlthau, 1993; Vakkari, 2001), the stages of the creative art process remain underexplored in the literature. To address this gap, further research is needed to investigate the distinct stages of visual artists' creative processes and the information sources they engage with throughout these stages. In line with Hemmig (2009), we also recommend examining the various types of information represented by these sources to deepen our understanding of their roles in creative artistic work.
The new perspective of this research provides the categorized framework of the sources of ideation. The new research findings include the previously underexplored category “Self”. By this the study adds to the understanding of information interaction in visual artists' creative art processes.
