The article analyzes theoretically and methodologically the categorical-conceptual field of the examined issues and determines reflectively the basic definitions used by scientists for research on an individual’s creative activities. In particular, such terms as “creativity”, “activity”, “creative activity”, “creative work”, etc. are differentiated semantically. These concepts were examined within such basic scientific psychological approaches as psychoanalytic (Z. Freud , C. Jung), humanistic (A. Maslow, C. Rogers, E. Fromm), activity-oriented (A. Leontiev, L. Kogan), cognitive (J. Guildford, E. Torrens), cultural-historical (L. Vygotsky , P. Engelmeyer), as well as in the context of D. Uznadze’a theory of set.
The authors developed an original structural-logical model for development of future designers’ creative activities, which covers the following components: 1) need-motivational (existing needs, motives for new product creation at design activities as a factor of adaptation to environmental changes; increased interest in creative specialties, search of beauty); 2) cognitive-creative (activation of form-creating processes (holistic perception, productive imagination, fantasizing, creative thinking, memory, etc.) aimed at fulfillment of creative intentions); 3) emotional-volitional (emotional enthusiasm, a joyful creative passion that have a mobilizing effect, the willingness to overcome cognitive obstacles and perform arbitrarily regulated activities to create highly aesthetic and, at the same time, utilitarian products); 4) active-productive (development of professional skills at designing; mastery of the technologies for design documenting and visualization; mastery of design techniques and rational tools; improvement of own creative activities and self-control of creative work stages and results).
For each of these components, a set of psychological diagnostic techniques was proposed that allows authors to record objectively the degree of each component implementation during designers’ training. Three levels (low, medium, high) of future designers’ creative activities were distinguished based on the proposed criteria, and the main essential features and general characteristics of each level were substantiated.
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