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Developing a research-led practice: A case study examining the information needs and behaviours of first year undergraduates at the University for the Creative Arts
Abstract
Arts students access information and find inspiration through a cornucopia of resources both within and outside of the library. Informed by creativity theory and information needs studies, this case study set out to identify the needs and behaviours of first year undergraduate students at the University for the Creative Arts in Canterbury. The use of multiple collection techniques captured rich data and provided an insight into ways of enhancing outreach both in the physical environment and online.
... providing shallow knowledge, misinformation, low-quality artwork or inaccurate artist details) has intensified information overload, confusion and uncertainty (Bawden and Robinson, 2009). Research highlights the need to develop information literacy skills that are important for effective online information seeking practices (M€ unster et al., 2018;Krtalic and Dinnen, 2022) and for achieving educational and creative endeavours overall (Challener, 1999;Daniels, 2018;Zreic et al., 2021). ...
... Previous information seeking empirical research in the domain of visual art, has focussed on different user groups, including visual art students' information needs for materials, techniques and trends (Daniels, 2018) as well as the information needs of visual artists (Lorenzen, 2004;Lee and Haddow, 2017). For example, Lorenzen (2004) found that visual artists need information for understanding the art creation process, the latest techniques and experiences of other artists from galleries, exhibitions and museums as well for keeping up with trends related to using the internet for promoting their art, sharing ideas with other artists through online groups, interacting with online galleries and museums and showcasing their art online. ...
... In addition, although dynamic changes in technology have affected information seeking behaviour in the JD visual arts (Larkin, 2010;Lee and Haddow, 2017;Gregory, 2007), access to digital content for visual art teachers is hampered by technology and language barriers (Robinson, 2014;Uçak, 2011). Interestingly, the library is still recognized as a key place to search for information (Daniels, 2018;Krtalic and Dinnen, 2022;Mason and Robinson, 2011;Uçak, 2011) but certain barriers exist, including lack of experience using libraries, difficulty in navigating indexes and lack of time. ...
Purpose
The aim of this study is to investigate how the information needs satisfaction of visual art teachers affects their creativity. Visual art teachers’ information seeking behaviour and specifically the association of information needs satisfaction with creativity has been an understudied area, despite competent information seeking being considered essential for high quality practices of art teachers.
Design/methodology/approach
A questionnaire survey was developed addressing the information seeking behaviour of art teachers, informed by Wilson’s model (1981), including visual art teachers’ information needs, information resources, obstacles faced while seeking information and the perceived impact of information needs satisfaction on visual art teachers’ creativity.
Findings
The study included 298 visual art teachers in Greece. The results demonstrated that the key information needs of art teachers were mainly related to materials’ properties, techniques for creating artwork and artwork promotion methods. Online information sources were the preferred sources of art information, followed by colleagues, personal collections and visits to galleries and museums. Our study identified lack of time, lack of specialized libraries and copyright, as the main barriers to information seeking.
Originality/value
Information about art plays a substantial role in visual art education, while visual art teachers’ information needs satisfaction positively influences their creative endeavours. There is a need to further explore the digital information needs of visual art teachers.
... Despite the large amount of information available on the internet, the importance of certain sources of printed information and the love of visual artists for libraries is evident (Beaudoin and Brady, 2011;Daniels, 2018;Krtalic and Dinnen, 2022;Lo and Chu, 2015;Mason and Robinson, 2011;Usak, 2011). Artists make considerable use of libraries and printed materials (Cobbledick, 1996;Challenger, 1999). ...
... However, most of them are willing to start from scratch if their first attempt to find information failed. LM Data collected by Daniels (2018) through questionnaires, interviews and observation were examined in relation to the information needs identified by Hemmig. Visual arts students alternate between print and electronic information; however, they frequently used digital resources due to convenience and accessibility. ...
... Material related to the history of each medium and its key artists over the centuries. Despite visual artists' growing interest in electronic media, the library is still recognized as a place to search for information and as a desirable community space for artists (Dane, 1987;Daniels, 2018;Krtalic and Dinnen, 2022;Mason and Robinson, 2011;Usak, 2011). We, therefore, conclude that visual artists living in an era of significant technological advances and social media development continue to make use of traditional (print) sources of visual information. ...
Purpose
Information makes an important contribution to the promotion of the creativity of visual artists. This work aims to explore relevant research through a systematic review of the literature and discuss the impact of information on visual artists' creativity.
Design/methodology/approach
A systematic literature review was conducted through Preferred Reporting Items for Systematic reviews and Meta-Analyses method. The authors searched and retrieved 1,320 papers from which, after evaluation, 41 papers have been analyzed.
Findings
Two thematic categories were identified for visual artists' information needs: (1) the need for professional development and (2) the need for creative techniques and materials. In terms of information sources visual artists employ, the authors have also identified seven broad categories: (1) conventional resources (galleries, museums, etc.), (2) professional scholar sources, (3) digital art websites, (4) informal information online and colleagues, (5) libraries, (6) personal collections and (7) professional scholar social networks. In addition, the study proceeded to classify the obstacles faced by visual artists in their search for visual information into two general categories: (1) environmental barriers and (2) digital literacy barriers.
Originality/value
Although the investigation of the information needs satisfaction of visual artists as well as the evaluation of their information behavior patterns and information literacy competences is essential, it is understudied. This paper summarizes the relevant literature in a concrete and systematic way providing evidences to be considered in a variety of situations, i.e. developing lifelong learning programs, managing visual art library collections, library services development for artists, etc.
‘Inspiration’ is a concept that comes up frequently in the Library and Information Science literature on artists and designers. But what do we mean by ‘inspiration’? This article discusses a selection of the psychological research on creativity and inspiration, as well as four information behaviour theories that help in finding inspiration - browsing, information encountering, satisficing, and serendipity.
The process of information- and inspiration-seeking behaviour amongst artists and designers often involve direct observation, note-taking, collecting materials and image samples, recognising styles, analysing movements, patterns, textures, as well as experimenting with different materials and techniques. They also rely heavily on having access to a variety of visual resources, both physical and digital, during the process of inspiration-seeking. However, there have been few studies on how art and design students look for and use information in the digital age, especially in the context of the library. This paper reports on an empirical study of the inspiration-seeking process and other information-related behaviour of students at the Hong Kong Design Institute (HKDI). An online questionnaire was created to ask the HKDI students specific questions: the types of library preferred; students' comfort level with the HKDI Library; student respondents' information needs; and their preferred sources for inspiration. They were also asked which media and venues they looked to for information that was important to their creative process. A total of 327 current students at the HKDI completed the survey. The research findings suggest that information-seeking behaviour of the art and design students was reflective of the fluid and creative nature of the art and design domain. They were regular users of traditional printed resources as well as the physical libraries. They also placed heavy reliance on the Internet and a variety of social networks when it came to inspiration-seeking. Inspiration was found from a very diverse and ‘idiosyncratic’ set of sources; often via accidental discovery. The students' status as emergent practitioners also suggested a strong need for career advice and interactions with peers practicing in the art and design field.
Purpose
The purpose of this paper is to examine the literature on the information behavior of practicing visual artists to determine if a consistent model emerges and what further research is necessary.
Design/methodology/approach
Works dealing with the information needs and uses relevant to the creative activities of visual artists are discussed in the paper. These works are assessed for their contributions toward understanding of the specific information behaviors of practicing artists.
Findings
The results show that a consistent model of artists' information behavior emerges. However, nearly all of the literature focuses on art students, academic art faculty, or librarians, and so any claim that practicing artists fit the model is largely unsupported by research. There have been no published studies of communities of practicing visual artists. The implications of defining artists as communities of practice are discussed.
Research limitations/implications
Research is proposed that studies the information behavior of communities of practicing visual artists in order to confirm or amend the existing model.
Practical implications
Practitioners will have their attention drawn to an underserved user population whose information needs and behaviors have not been directly targeted for research. They will recognize the need for study of their own artist communities and the development of services for them.
Originality/value
This paper directs the discussion of artists' information behavior away from the art‐library‐specific literature, where it has largely resided, as a means of adjusting the focus of research onto the largely unstudied and underserved communities of practicing artists.
Historically, the culture of design education reflects an uneasy liaison between the mediaeval monastic ('Book') and the crafts guilds ('design studio') traditions. For this reason it has been difficult to integrate both modes of knowledge in design education. Common misunderstandings about 'scholastic rigour' are symptomatic of this confusion. 'Rigorous' writing is fundamentally rule-based and organisational, and can therefore be at odds with the situated, opportunistic judgements involved with much design practice. We should therefore re-design academic writing protocols for design education. By thinking about 'rigour' we may absolve it, perhaps adopting a more empathetic model to make writing more like designing for a specified client. The standard school essay implies a 180elationship between authors and their unknown readers. It is profoundly linear, fact-based and rhetorical, therefore may be useful in the competitive culture of bureaucratic work. For this reason we need better practices of 'self-teaching' and 'thinking-through' to make the culture of design education a wiser one. Empathetic modes of writing -i.e. those with an author-reader relationship of less than 90 enable designers to focus onto shared issues by 'thinking-as', 'thinking-for', and 'thinking-into' their nominated reader.